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Student's Manual of Fashion Drawing. Thirty Lessons with Conventional
Charts. By Edith Young. Director of the Edith Young Art School, Newark,
N. J. Formerly Art Director of the Albert Studio of Fashion Drawing, Albert
Business College, Newark, N. J., and Instructor of Fashion Drawing at the
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For full announcement see list following index.

STUDENT'S MANUAL

FASHION DRAWING

Thirty Lessons with Conventional Charts

EDITH YOUNG

Director of the Edith Young Art ScJwol, Newark, N. J., Formerly Art

Director of the Albert Studio of Fashion Drawing, Albert Business

College, Newark, N. J., and Instructor of Fashion Drawing

at the Young Women's Christian Ass'n, Newark, N. J.

FIRST EDITION

NEW YORK

JOHN WILEY & SONS, INC

LONDON: CHAPMAN & HALL, LIMITED

1919

EDITH YOUNG

PRESS or

BRAUNWORTH ft CO*

BOOK MANUFACTURERS

BROOKLYN. N. V

CONTENTS

PAGE

Introduction v

Drawing Materials vii

LESSON

I. The Dress Form. To Draw the Form. . 1

II. To Put the Dress on the Form 4

The Back Form 5

III. The Side-plaited Skirt 9

The Box-plaited Skirt 9

The Over-skirt 9

IV. The Tucked Skirt 13

The Circular Over-skirt 13

The Ruffled Skirt 13

V. The Plaited Waist 17

The Ruffled Waist 17

The Bent Sleeve 18

Collars 18

VI. The Tucked Waist 21

The Tight Jacket 21

Collars 21

The Pointed Girdle 22

VII. The Large Coat 24

VIII. Plaids, Stripes and Figures , 27

IX. Shirring, Scalloping, Lacing, etc. ....... 30

X. Bows, Ribbons and Flowers 32

XI. To make a Sketch from a Costume 35

XII. Features.. 39

LESSON PAGE

XIII. The Head and Hair 45

To Place the Hat on the Head 46

XIV. The Construction of the Head 49

XV. The Arm and Hand." Proportions of

the Arm and Hand 53

XVI. The Leg and Shoe 57

XVII. The Front Figure (Three-quarter

View) 61

Proportions of Children 62

XVIII. To Place a Dress on the Figure 64

Illustrating a Costume 64

XIX. Pen and Ink Lines 69

French Wash. The Ben Day Machine 70

XX. Feathers and Hats 73

XXI. Parasols 76

XXII. Furs and Fans 78

XXIII. The Back Figure 80

XXIV. The Side Figure 82

XXV: The Sitting Figure 84

XXVI. Texture and Detail Work 87

List of Costume Materials 88

XXVII. Perspective 91

XXVIII. Layouts for Newspapers and Cata-
logues 97

The Method of Enlargement 98

XXIX. Original Dress Designing 101

XXX. Decorative Work.. . 105

iii

INTRODUCTION

Many young people, who have a desire
to draw, are much interested in fashion
drawing and wish to take up the subject
without any preparatory instruction in
art. They thus bring to the study prac-
tically no knowledge of fashions and very
little knowledge of drawing. Successful
instruction for such classes must neces-
sarily follow a very definite and carefully
worked-out plan. The first steps must be
very simple, and the succeeding steps must
follow in a carefully selected order and in
easy stages, with numerous illustrations
and ample opportunity for drill on funda-
mentals.

The author of this manual has had much
experience in teaching pupils of the limited
preparation suggested, in connection with
her classes in fashion drawing at the Young
Women's Christian Association and the
Albert Business College, Newark, N. J.
The text sets forth in detail the course
of instruction which has been followed with
these classes and which has been found
to give the quickest and best results.
Fundamental principles are carefully ex-
plained, but the author's aim has been not
so much to offer a discussion of methods in
fashion drawing as to provide the means
for practice in applying these methods.
The pupil will learn best by carefully
following directions and by constant prac-
tice. The manual is to be used as a guide.

In this connection it should perhaps be
stated that the plates given in connection
with the lessons are not supposed to
be artistic or " pretty." They are con-
ventional charts illustrating the subject.
As such they are very " set," because in
this way the meaning can be made clear

with few lines. Merely copying these
charts will not make the pupil a fashion
artist. They are illustrations intended
rather to teach the pupil how to study.
Every chart is fully explained, and as
each illustration is important, it must be
mastered as it is encountered. Any part
skipped will cause trouble later on. After
the student has drawn all figures under-
standingly, in a conventional manner, he
should make original drawings, using these
principles and pictures as guides, but put-
ting feeling and grace into his work.

After studying each lesson carefully
until it is fully understood and making
drawings for the same, study the fashion
papers and find the subjects that you have
learned. In this, select only pen and ink
illustrations, as they are line drawings and
are clear cut; photos and wash drawings
are too vague for the beginner.

In the fashion field, the artist may use a
picture as a model and from it construct an
original figure which may be dressed in
any costume.

Make a collection of pictures. Save all
fashion papers, newspaper clippings, ad-
vertisements, cards, etc. Place these in
boxes, keeping them sorted; that is,
figures in underclothes and the nude in
one box, newspaper clippings in another,
decorative work, such as dealt with in
Lesson XXX, in another, etc. Begin
right now to save, then when you get to
the lessons on the back and on sitting
figures, you will have something to work
from. The cry has been so often, " I
can not find any back figure in under-
clothes." Do not let this happen to you.

In drawing, the pupil is urged to heed

INTRODUCTION

the following suggestions: When begin-
ning to draw, use a blunt pencil point with
plenty of lead exposed, at least one-third
inch. For fine work, such as faces, hands,
details, etc., use a very fine point. I can
not be too emphatic about this. So many
drawings are poor for the simple reason
that a dull point is not the proper tool for
fine lines. To save time, sharpen your
pencil often on an emery pad.

For the main part of costumes, a fine
point is not good; have plenty of lead
exposed and do not try to draw with the
wood.

When you use an eraser, build as you
rub. Erase the old lines often, allowing
them to show, and on these indistinct lines
make your drawing better. Use a soft
rag or feather duster to clean off the specks.
After drawing for a time, rest the eye, as
the eye becomes stale with close watching.
View your picture at a distance, reverse
it in a looking-glass, turn it upside down.

A diminishing glass helps in detecting
errors.

Learn to criticise your own work, and
let others criticise it for you, even if they
are not artists. A novice will often see a
defect that you have passed over. Be
on the lookout for anything that will help
you in your study, be it a picture, a book,
or gowns themselves.

Learn to trust to your eye, but if you are
not satisfied with results, use the following
measuring system to true up your work:
On a piece of cardboard, one inch by four
or five inches, mark off at the top a meas-
urement of the model, say one-half head.
Below this mark make another mark the
size of one-half the head of your figure.
See how many times the first measurement
goes into certain parts on the model.
Use the second measurement on all corre-
sponding parts on your drawing.

EDITH YOUNG.

NEWARK, N. J., 1919.

DRAWING MATERIALS

For Pencil Work. Drawing board (or
baking board); drawing tablet; medium
soft pencil (H. B.); soft eraser; thumb-
tacks; emery sharpener; penknife; soft
cotton rag; portfolio; pencil holder; note
book.

For Ink Work. Bristol board (plate
finish) or pen and ink paper; hard pencil
eraser; ink eraser (be careful of its use);
two pen holders; two No. 170 Gillott pens;
two No. 290 Gillott pens; one stub-pen;
bottle Higgin's drawing ink (waterproof);
small camel's hair brush (for ink); one
sheet of tracing paper ; one sheet of blotting
paper.

For Water-color Work. Illustration
board; sable hair brushes (No. 2 and No.
6) ; water colors in one-half pans as follows :
Yellow ochre, gamboge, (x) indian yellow,
(x) rose madder, madder brown, (x) light
red, crimson lake, vermilion, orange ver-
milion, Payne's gray, Vandyke brown,
burnt sienna, raw sienna, burnt umber,
raw umber, (x) sepia, (x) Hunter's green,
(x) Hooker's green (No. 1 and No. 2),
ultramarine blue, cobalt, Prussian blue;
tin box to hold more than these colors;
lamp black (in a tube); Devoe's show

card white (in a jar) ; Semple's white (in a
jar).

There are many more good colors.
The colors marked (x) may be omitted for
the present. Greens can be mixed.

Useful Articles. Magnifying glass;
diminishing glass; T-square; ruler with
metal edge; ruling pen; compass; ink
compass; art gum (to clean drawings);
fixatif (to spray charcoal and pencil draw-
ings); atomizer; small piece of blue glass
(to study drawings through); kneaded
eraser (for pencil or charcoal work);
plumb line; raw potato (to clean pens);
crayon pencils, No. 1, 2, 3, B.

When ruling a line in ink, place the ruler
wrong side up along the pencil line, hold
very steady and rule with the ruling pen.
If a wide line is required, draw two lines
and fill in between them with a brush or
ruling pen.

Shaded drawings in black and white
are rendered in pencil, charcoal, crayons,
crayon pencils and oil or water color paint.

There are many kinds of papers in white
and color. The student should try experi-
ments with these papers, although certain
papers are prepared for certain mediums.

STUDENT'S MANUAL OF FASHION DRAWING

LESSON I
THE DRESS FORM

In taking up this lesson the student
must remember that a good form is the
foundation for all succeeding lessons. No
matter how pretty a, dress or design is,
if it is placed on a " dumpy " figure, it
will have no style whatever.

In this lesson we first learn how to draw
a layout for the form, which consists of two
ovals, Fig. A, then how to place the form
on this layout. In the next lesson we
dress the same form in a very simple
dress.

A form must have good proportion and
style. A form leaning forward, or making
a bow, as one might express it, is not
stylish, neither is one with too large a bust
and a tiny waist; nor one with high,
square shoulders.

In this lesson we learn how to draw a
form for a long dress, and as the styles
change, the length of the skirt may be
shortened. The waist goes into the skirt
two and one-half times, the shoulders
are thrown back, the sleeve is thrown out,
and the skirt hangs straight down from the
waist, flaring at the bottom. For a scant
skirt do not flare as much as for a full one.

This form is used for dressmaker's
sketches, and for any dress to be placed on
a lay figure.

When the dress is on the human figure,
action comes in play and a complete
understanding of these lessons will enable
the student to draw the human figure in a
variety of positions, and also to dress the
figure in a variety of costumes. The best

way to begin the study of this and all
succeeding lessons, is to read all points
relating to a certain figure (of course begin-
ning with Fig. 4), without looking at the
lesson plate; then take a hard pencil, or
a dull point of some kind, re-read the in-
structions, going over the lines of the figure
with the point, according to the directions.
Make careful note of the direction of the
lines, and form a mental image of the figure
by imagining that you are drawing it.

Next select a sheet of drawing paper,
and with a soft pencil (medium), draw Fig.
A as directed below. Follow the way
explained; the student will find progress
much easier and quicker by proceeding
as directed than by trying some other way.

TO DRAW THE FORM

Make the drawing somewhat larger than
the copy, placing the figure in the center
of the paper. This may be done by getting
the proportions and measuring to see just
where to begin the drawing. Leave a
little more margin at the bottom, than at
the top.

Draw line 1, which is a very slight hori-
zontal curve up, then lines 2, 3, 4, 5, 6 and 7
as marked on the lesson plate. Line 2 is
thrown out for the bust, and line 3 is
thrown in at the waist, which throws the
shoulders back. Lines 4 and 5 cross lines
2 and 3 at the waist, at first curving out
for the hips, then curving in to the bottom

'. / -ST-UEtENT'S MANUAL OF FASHION DRAWING

'LESSON I

of .thfe.' skirt '-oval; ..Lin'e'fi' (center line of
waist) follows line 2, not literally, but taking
the general direction, getting straighter
as it reaches the waist line. Line 7 (center
line of skirt) runs straight down from
line 6.

Make the drawing a three-quarter view,
which shows the front, side, and one sleeve
of the dress. In this position one may
show a design on the outside of a sleeve
or on the side of a dress.

Practice this figure, doing it many times.
When you feel confident that you un-
derstand all that has preceded and can
draw Fig. A with snap, take up Fig. B
which is the dress form placed on Fig. A.

Proceed with Fig. B in the same way,
going over the lines and studying out the
principles described below. The light
lines are the lines of Fig. A and must be
kept until the form is completed. Always
keep the center line until the dress is
finished.

As already pointed out, the waist goes
into the skirt two and one-half (2J) times.
Put on the collar above line 1, not too high
and not too low, but just high enough to
get good curves on the shoulders. Allow
this distance at the bottom of the skirt
oval. Be sure to make the collar three-
quarter view, as is the waist and skirt.
The center line of the collar is vertical, like
the sides of the collar.

The collar goes into the shoulders three
(3) times and is about the same height.
The lines of the collar curve down, as does
the waist line, but the bottom of the sleeve
curves up. In the back view this order is
reversed, as is explained in Lesson II.
The collar and waist lines curve up, and
the bottom of the sleeve curves down.

Note how line 2 is cut into for the chest
(line 8), which comes out to the bust.
This piece, cut off of line 2, may be used for
a far sleeve, if a sleeve is to be drawn.
For a sketch of a dress one sleeve is suf-
ficient, a sketch being used to show how
the dress is made. When drawing for

reproduction, it is well to have two sleeves
on a dress.

Get good curves on the shoulders, con-
necting the collar with the ends of line 1,
and do not show too much of the inside
of the collar and the bottom of the sleeves.
Make the ellipses graceful, not pointed at
the ends, and show the thickness of the
goods by not connecting the lines.

There are three planes at the waist:
the front, and two sides. You observe
but little of the far side in a three-quarter
view. This is true of the collar also.
These three planes on the waist run into
each other, forming a graceful curve.
The planes on the collar do the same.

Put the skirt on with a flare, coming
out at the hips (not in), and be sure to
make a graceful curve on the bottom of the
form. Remember that the waist, skirt,
and collar are all three-quarter view.

Throw the sleeve out (curving very
slightly in, to take away the stiffness).
The upper half of the sleeve is somewhat
larger than the lower half, the bend coming
opposite the waist line. This makes the
length of the upper part of the sleeve equal
to that of the lower part.

The armhole has a slight plane on the
shoulder and from there it curves slightly
towards the front, but do not hollow the
armhole too much. Be sure to throw the
sleeve out. The armhole is not as large
as one would suppose by the drawing,
as the sleeve touches the waist after it
leaves the armhole. Note the cross line
where the armhole goes under the arm.

To test the accuracy of your form, drop
the dotted lines from the center of the near
shoulder to the end of the waist line.
This line must be vertical or parallel with
the edges of your paper. Drop the dotted
line from the end of the far shoulder to
the other end of the waist line. This line
also must be vertical.

If you have followed all directions care-
fully, you will have a good form on which
any costume may be placed.

LESSON I

THE FORM READY FOR ANY COSTUME

LESSON II
TO PUT THE DRESS ON THE FORM

Study Fig. C by going over it with a
point, as directed in Lesson I, until it is
thoroughly understood. Then draw the
form as directed in Lesson I. When you
feel confident that your form is good in all
respects, with light lines, place the dress
on the form as directed below.

Decide how far down the V in the neck
opens, and mark off on the center line,
curving the far side of the V around the
neck to the center line. The near side
takes a slight reverse curve around the
neck to the center line.

Remember, in dressing up a form that it
is. oval, and the lines must follow the form,
and not be drawn straight. Draw just as
few lines as possible, in the right direction.

Women's clothing opens from right to
left. As this dress opens past the center
line, continue the far side of the V past
the center line to the opening of the waist,
which follows the center line of the waist.

The skirt opens directly under the waist
opening, and follows the center line of the
skirt, which hangs straight down.

Place the belt one-half above and one-half
below the waist line, curving the lines to
follow the waist line. The sides of the belt
are vertical. This belt is flat and does not
show the opening.

The waist blouses over the belt in front,
and extends past the belt at the sides.
Note the slight change of direction where
the waist opens and goes under the blouse.
If the waist were not bloused, the lines
would follow the form and go into the belt,
showing its full width.

Place all buttons on the center line, hav-
ing the buttons the same size and evenly
spaced. After a while the student's eye

will be able to judge distances; until then
it might be well to measure from the
center of one button to the center of the
next button, marking each center with a
dot. Around these dots draw the buttons.

Note the large buttons at the bottom
of the page. Draw the top of the button
and then the bottom; in this way the
student can obtain better curves.

A flat round button has a small shadow
underneath, darkest at the bottom. A
high, round button casts a shadow like a
sphere. To obtain this draw the round
of the button, then draw another round
the same size through the center of the
first one, blackening the part underneath
the button. The buttonholes may be
drawn with one or two lines, but must
be opposite the center of the buttons, and
run straight out to the left of the drawing
(as you face the figure).

The turnover collar is sewed on at the
top of the high collar and flares at the
bottom. Make the collar open in the center
and curve it around the neck. The chem-
isette opens past the center line. Note all
guide lines drawn through the turnover
collar, cuffs, and center of pocket, also at
the ends of the buttonholes and between
the pockets.

The cuff, which follows the bottom line
of the sleeve, curves up. It is sewed on
at the bottom and flares slightly at the
top. Do not flare too much.

Put the pockets on at the right height
for the hands and keep them the same
size and about an even distance from the
center line. As the far side is lost some-
what, show a little less of it than the near
side.

LESSON II

TO PUT THE DRESS ON THE FORM

Note how the flaps of the pockets extend
past the pockets, and how both pocket and
flap extend past the skirt on the far side.
Be sure to make the pockets the right size
for the dress.

Next comes the fullness of the skirt. A
skirt cut with no fullness at the top and
much fullness at the bottom — like the
lesson plate — must be a flare skirt. How-
ever, this is not the point to be illus-
trated. The idea to be grasped by the
student is how to draw fullness which goes
in and out of the bottom of the skirt.
In Lesson III we shall learn how gathers
at the top of a skirt are drawn.

XX is the edge of the fold and hangs
straight down to the bottom of the dress
form. X is where the fold touches this
line. O is on a line with X, but the skirt
being full, 0 appears farther back. Draw
so, gradually bringing the bottom line of
the dress out to the next X, etc. The
hem follows the bottom line of the dress,
not of the form. The opening of the skirt
runs down to X, the nearest point. 0 is
back.

All stitching must be evenly spaced, an
even distance from the seam, and not too
near it. On the left of the skirt the stitch-
ing is drawn on the hem, on the right side
the way to draw is explained. Until
the student can judge distances, measure
from X up to the top of the hem, which is
the same width as from 0 to the top of the
hem. Mark with dots at these points
and between them, and draw light lines
through these points. When you are con-
vinced that the hem follows the bottom
line of the dress, draw the stitching.

If the skirt is not as full in places, X and
O will run together, as illustrated on the
right side of the skirt. To do this once
in a while will make a more graceful draw-
ing.

Note where the three principal wrinkles
come on the sleeve.

As an application of this lesson, cut out
of a fashion paper a pen and ink drawing

(about six inches in height) of a simple
dress illustrating what you have learned
in this lesson; a dress with collar, cuffs,
belt, pockets, stitching, buttons, and full-
ness at the bottom. Cut off the head,
feet and hands, as the dress is all you need.
Draw a three-quarter view form facing
the same way as the clipping, and dress
it in this dress, using the principles learned,
not merely copying the lines. Do not
bend the arms. Draw like Fig. B.

Learn how to draw the form facing the
other way and dress it in a simple dress.
If you find this difficult, take a sheet of
tracing paper, trace off Figs. A and B
of Lesson I, turn this tracing wrong side
up and you will have the form facing in the
opposite direction.

THE BACK FORM

It is not necessary to repeat in every
lesson details as to how to study, as the
student is expected to remember and apply
all previous lessons on each new lesson.
Take each lesson slowly, learning it com-
pletely, then proceed to the next one.

The back form is drawn sometimes full
and sometimes three-quarter view. In
this lesson we take up the full back in
detail, but a small three-quarter back
view is illustrated in the upper right-
hand corner of the lesson plate. The
center line in this view is vertical and at
one side of the middle of the drawing. The
near armhole is hollowed in and the far
armhole is lost. Study the full back
(Fig. E) at first and later draw the three-
quarter view.

Draw layout D for full back, drawing
the lines in order, 1, 2, 3, 4, 5, 6, 7. The
student can see for himself just what these
lines do. Do not make the waist too
small. Remember that the waist goes into
the skirt two and one-half times and that
the center line is in the middle of the draw-
ing, and runs straight down.

On layout D draw Fig. E, placing the

6 STUDENT'S MANUAL OF FASHION DRAWING LESSON II

collar above line 1, a little higher than in and opposite each other. Do not hollow

the front view, and connect the ends of the armholes too much. Throw the sleeve

the collar with the shoulders. The collar out (curving very slightly out, to take away

and waist lines curve up, but the bottom the stiffness). This is the reverse of the

of the sleeve curves down. The top of front view, which curves slightly in.

the cuff follows the bottom line of the The waist is full in the front as shown by

sleeve, exposing the inside of the cuff. the blouse at the sides, but the back is

The armholes must be the same size perfectly plain and tight.

LESSON II

FITTING A SIMPLE DRESS ON THE FORM

LESSON III
THE SIDE-PLAITED SKIRT

Lessons III and IV are devoted to skirts
and it will be well for the student to
thoroughly master these, as any part
slurred over will cause trouble later on.

Fig. F is a combination of a side-plaited
and a box-plaited skirt. The student is
expected to draw two skirts and not combine
them as done on the lesson plate.

Begin with the side- plaited skirt (Fig.
F which is a full front view). Draw the
form, being sure to make a graceful
ellipse at the top, and after placing the
belt as directed in Lesson II, mark off
at the waist the size of the center box-
plait, the sides of which are an even
distance from the center line. Decide
upon the width of the side plaits, which
must be in good proportion to the box-
plait, and on each side of the box plait
mark them off, being sure to have all the
plaits the same width. From these points
draw lines down, flaring slightly until they
touch the bottom line of the skirt form.
Each plait will touch this line at X, the
nearest point 0 is back, draw so, as in the
skirt with fullness at the bottom (Lesson
II), but make each plait a sharper point
than in the gathered skirt. The deeper
the plait the farther back O is from X.
The plaits are wider at the bottom than at
the top. Not being stitched down, they
open somewhat after leaving the belt.

THE BOX-PLAITED SKIRT

After drawing a complete form for this
skirt and placing the belt as directed
before, draw the front box-plait, marking
the size at the waist. On each side of this
front plait, mark off the distance between

it and the next plait, then the size of the
following box-plait, which must be the
same width as the first one, until all the
plaits are marked at the waist. Draw
all lines down until they touch the bottom
line of the form, flaring slightly as in the
side-plaited skirt. You will observe that
each box-plait has two XX 's, and a very
gentle curve up between them. The star
(*) is the distance between the box-plaits,
and is back, the same as O. This star line
curves up, and the deeper the plait the
higher the star line is from X.

For both box-plaited and side-plaited
skirts be careful to make the plaits even
at the bottom and at the top, and if your
lines are straight the width between the
top and the bottom will also be even.

THE OVER-SKIRT (LONGER IN THE BACK)

To the student with untrained eye the
lines of an over-skirt, panier, and puff
seem very confusing, but after study-
ing and drawing the three figures G, H,
and I, the literal meaning of the lines
will be understood, and the student will
be able to use this knowledge to great
advantage when sketching from a costume.

In Fig. G, for example, one side of the
over-skirt is plaited and the other side is
gathered. It will be well for the student
to make two drawings and not combine
them as on the lesson plate, thus deriving
more practice upon the subject.

This over-skirt is longer in the back than
in the front, consequently it shows the
under part of each plait.

The under-skirt is sewed on at the waist
and flares. Note the guide lines of the

STUDENT'S MANUAL OF FASHION DRAWING LESSON III

under -skirt as they run up to the waist
line.

The over-skirt is also sewed on at the
waist but flares more than the under-
skirt as it descends. XX is the edge of the
fold and hangs straight down. The
" square " is the inside crease of the fold,
which also hangs straight down from the
belt, the lower part only being exposed to
view.

Begin with the curved line in the front
of the skirt (that is, after the form is well
drawn) , then draw XX down from the waist
and curve it around. It descends as it
goes until it almost touches the under
fold (square), where it comes out from
under the skirt. The under fold hangs
down, curves around, descends until it
almost touches the next XX, etc. Note
the guide lines of one of the plaits as it
runs up to the waist line.

The other side of this skirt being
gathered, the lines of the fullness at the
top fall down between the lines of the full-
ness which run up from the bottom.

Note how the over-skirt fits around the
under-skirt, descending toward the back.

THE PANIER

If the student has been successful with
the lines of Fig. G, the panier will be easy
to draw.

The lines of the panier (Fig. H) are the
same as in the over-skirt (Fig. G}, but the
panier projects at the hips in a ruffle
effect while the over-skirt hangs straight
down.

This skirt is drawn three-quarter view,
which shows the full panier on the near
side and but little of it on the far side.
Note how different the lines look on the
far side, as you see but little of the under
surface of the goods.

THE PUFFED SKIRT

The lines for the puff are somewhat dif-
ferent and yet somewhat the same as in
Fig. G, as the lines curl around and fit into
each other. A skirt that is puffed at the
hips will extend past the normal skirt
line. Note these lines as seen through the
puff, but instead of the ruffle effect, as
seen on the panier, the goods is drawn in
again, hence the puff. The puff means
that the goods is gathered and is very
full, therefore the goods beneath the puff
is also very full, as the lines indicate in
Fig. I. The lines under the puff are
heavier, caused by the shadow cast by the
puff. Note the crispness and the sharp-
ness of the lines as they curl around and
fit into each other.

SKIRT WITH YOKE AND TUCKS

As we learned before " the lines follow
the form " so the yoke must fit around
the form, hence it follows that the yoke
line (if a perfectly plain yoke) will follow
the waist line.

If there happens to be a fancy design on
the yoke, the general direction of the yoke
will fit the form, but will be broken into
by the design.

Place the tucks an even distance from
the center line the same as the plaits,
but if stitched down, as they are in Fig.
J, they will not flare. Note the guide
lines drawn through the ends of the tucks
(where they stop) and where the fullness
begins.

To test the knowledge acquired from this
lesson draw numerous forms three-quarter
view, or full front, and dress them in skirts
like the ones illustrated in this lesson.
Use pen-and-ink clippings of skirts.

LESSON III

FITTING THE UP AND DOWN LINES OF A SKIRT ON THE SKIRT FORM

LESSON IV
THE TUCKED SKIRT

In Lesson IV only the bottom of the
tucked skirt (Fig. K) is illustrated, but
for practice — and much practice is required
on each lesson — draw a complete skirt form
with a graceful ellipse at the top, not show-
ing too much of the back of the ellipse,
then place as many XX's as you think
will look well. In the figure we have two
on the near side and one on the far side
(the skirt being a three-quarter view).
After getting a good bottom line, place the
tucks on the skirt according to directions.

We learned in Lesson II that the hem
followed the bottom line of the dress, not
of the form; therefore tucks, bands,
braiding, or any trimming which goes
around the bottom of a skirt, must also
follow this line.

Place all the X's and O's carefully before
attempting to put the tucks on; because
when the bottom line is poor, and if the
tucks follow this poor line, the whole skirt
will have a peculiar appearance.

Begin at the front, and after deciding
how high the first tuck is to be, draw it
around as you would a hem, being sure to
follow the bottom line. If you do this
carefully with the first tuck, there will be
no difficulty in drawing the remaining
ones.

A tuck must be the same width in all
places and appear to go in and out of the
fullness and go around the edges of the
skirt at the same height, not down or
up in the back.

If all the tucks are of equal width, like
the ones on the lesson plate, draw so, but
if different widths are required, gauge
accordingly.

The tucks are sewed at the top and ex-

tend a little past the side of the skirt at
the bottom. Occasionally this will happen
at XX, but not often. Note the X's and
O's on the first tuck.

The top of each tuck may be indicated
by a broken line for stitching, it being
well to draw the continuous line at first.

Bias bands are stitched on both edges.
They cling to the dress.

THE CIRCULAR OVER-SKIRT

A circular over-skirt is plain at the top
and ripples at the bottom.

Fig. L represents two over-skirts, the
top one being even all around, the under
one being pointed on the front, the point
being on the center line. Observe X
and O on this skirt. As the skirt is shorter
on the sides than in front, O is very much
higher than X. Note the guide lines for
the bottom of the over-skirt and of the
under-skirt, where it runs up to the waist.

THE RUFFLED SKIRT

Ruffles are hard for a beginner to draw,
there being no special rule to go by. They
must be graceful, and full or scant as
required.

A ruffle which is very full will stick out
at the bottom and expose the under part.
(See the ruffle at the top of the Lesson
Plate.)

On a very full ruffle you will occasionally
observe a set form, but if repeated too
often the effect will be a row of autumn
leaves or sea shells.

Note the set form marked by the arrow.
On each side of this form two XX lines

STUDENT'S MANUAL OF FASHION DRAWING

LESSON IV

curve out, the goods being gathered in at
the top. The form is narrower where
sewed on than at the bottom. Notice
the under part of this set form, the lines
being somewhat the same as the lines of
an over-skirt.

In between these set forms the line of
the bottom of the ruffle waves in and out,
the set form being nearer to you than the
wavy part.

All lines for the fullness must look as if
they were pulled together at the top of the
ruffle. The lines XX at the right side
curve out to the right, and on the left
side they curve out to the left.

A scant ruffle will have somewhat the
appearance of the bottom of a full skirt,
but the XX lines are more curved than the
skirt lines. Materials like taffeta, calico,
etc., which are stiff and heavy, will have
rounding lines like the ruffle at the top
of the lesson plate. Tulle, which is stiff
but thin, will have lines which are
straighter and sharper. (See Example.)

Draw the ruffle at the top of the page,
and when you are convinced that you
can do this satisfactorily, draw Fig. M.

After placing X's and O's for the bottom
line, draw guide lines the width of the ruffle
on which place the ruffle.

The ruffle must go in and out of the full-
ness.

This skirt (Fig. M) is gathered at the
top. The lines of the fullness from the
waist fall down between the lines of the
fullness which run up from the bottom.

Study the lines of fullness on other draw-
ings and notice that some lines are short,
some long, and some meet in a V near the
waist line. If the material is heavy, all
lines of fullness will go under the band,
but if thin material is used some lines will
fall short of the band and be hooked at
the top.

All lines for fullness must be sharp and
snappy. Practice such lines with bold
strokes, on a separate piece of paper.

A ruching has the appearance of two
ruffles, one turned up and the other down,
the lines being the same. It is darkest
where gathered, which is in the middle.
(See example.)

Apply this lesson as you did the previous
ones.

LESSON IV

PLACING THE RUFFLE AND TUCKS IN AND OUT OF THE FULLNESS OF A SKIRT

LESSON V

Lessons V and VI being devoted to
waists, the student is expected to pay
strict attention to all points relating to each
drawing, as the waist is a very important
feature.

If you succeeded with Lessons I and II,
you will have no difficulty with this lesson,
as the form is the same, but instead of very
simple waists being placed upon it, some-
thing new is to be learned on each new
figure.

THE PLAITED WAIST

After drawing the form for Fig. N,
place the waist on the form, following all
previous rules.

It will not be necessary to repeat all
instructions as the student is supposed to
have learned them by this time. All new
information will be given for each figure,
and when combined with previous lessons,
there should be no difficulty in rendering
Lessons V and VI satisfactorily.

Fig. N shows a tight waist with deep
plaits running over the shoulders. They
follow the center line. It also has a vest,
the V of which is on the center line and the
opening under the first plait.

Follow Lesson II carefully in all details
when putting on the waists, and note all
guide lines on the new lesson plates.

The belt is flat and the buckle is placed
on the center line, the buckle being merely
suggested here. The buckle in detail is
given below. Study it carefully. It is
oblong in shape and fits over the belt,
that is, the belt must run through the
buckle. See how the buckle curves to fit
the waist. Make all widths even and place
the hole and fastening over the center line.

The sleeve of Fig. N is tight on the inside
and bloused on the outside. Note the
guide lines of the sleeve form seen through
the sleeve; the normal sleeve form being
first drawn and the sleeve placed upon
it afterwards.

Flare the gauntlet at the bottom, and
place all buttons at even distances at the
back of the sleeve.

The fullness at the top of the sleeve
follows its form and at the bottom is
only at the back.

THE RUFFLED WAIST

In Fig. P we have a waist with fullness
but not bloused as in Lesson II. The
fullness, being gathered at the belt, flares
in a ruffle effect below it.

The right side of the belt laps over the
left, past the center line. Make it definite
which side of the belt is on top.

The ruffle is placed around the neck and
falls in a jabot down the front of the waist,
the lines being the same as the lines of the
over-skirt. (Lesson III, Fig. Or.) Here,
as in the over-skirt, you observe the wrong
side of the material.

In placing the ruffle and jabot, draw the
small V for the neck, then the large V
for the width of the jabot. Note how the
lines of the large V curve around the form.

After ascertaining the width of the
ruffle and jabot, draw them within these
guide lines, applying the principles of
Lesson III, Fig. G.

Like the panier (Lesson III, Fig. H)
you see but little of the under surface of
the goods on the far side.

The band on the sleeve fits tightly
around the arm and is a continuation of the

STUDENT'S MANUAL OF FASHION DRAWING

LESSON V

guide lines of the sleeve form, the sleeve
flaring above and below it.

THE BENT SLEEVE

The bending of a sleeve causes it to
wrinkle. Study the bent sleeve and note
the wrinkles which lie mainly on the inside.
At the elbow the wrinkles curve around the
form toward the outside.

COLLAR 1

Collar 1 is a stiff collar turning over and
standing away from the neck. Be sure
to fit it around the neck, but do not draw
the lines too near it.

COLLAR 2

Collar 2 is of fine plaiting, standing up
and down around the neck, being held close
to the neck by a tight band.

Draw guide lines for the width of each
part, and all lines from the band out to

these lines, connecting them at the bottom
and top as described in Lesson III, Fig. F
(plaited skirt) ; but if connected sometimes
sharp and sometimes wavy, it will take
away the stiff appearance of the set plaits
and make the goods look soft and thin.

COLLAR 3

Collar 3 is made of fluting, being placed
around a low neck, the lines being very
regular. Note the XX lines, and where
the fluting turns up. You would readily
see the underside of the fluting, but these
lines may be omitted as too many lines
cause confusion.

Apply this lesson and Lesson VI as you
did the previous ones. You will find many
kinds of waists to draw, but the main
principles are given in these lessons, and
by applying them carefully, you will have
no difficulty in drawing any design.

Always draw understandingly. Do not
merely copy the lines of a picture.

LESSON V

FITTING WAISTS, COLLARS AND THE BUCKLE ON THE WAIST FORM

LESSON VI
THE TUCKED WAIST

In Fig. Q is shown not only a waist but
a sash as well. First draw the waist,
then the sash.

The yoke curves slightly to follow the
form, the lines for the yoke being directly
opposite each other. Be careful to make
the yoke fit into the top of the sleeve and
not hang over like a collar. This may
seem unnecessary advice, but students
have made this mistake. The fullness
falls from the yoke, the main lines following
the form, although a few of the smaller
ones may take the opposite direction.

The tucks follow the waist line and wave
slightly (the waist being a full one).
They extend past the form at the sides.
The vest lines follow the center line. Be
particular to draw the tucks directly oppo-
site each other on both sides of the vest.

Place the full sleeve on the form, there
being no fullness at the top, while the bot-
tom hangs well over the deep gauntlet.

The cuff, being pointed at the back,
causes a slight reverse curve at the top.
The inside of the cuff follows the bottom
line of the sleeve, gradually changing until
it takes the opposite direction for the point,
which is at the back. The cuff being open,
you observe a little of the wrong side of the
opposite point.

The sash is all important. It fits around
the waist, being crossed in the back, and
from there it fits around the hips and is
tied at the side of the front.

In placing this full girdle, draw as if it
were a flat belt, then place the fullness,
which extends just a little past the normal
waist line, as does also the part that fits
the hips, which extends just a little past
the normal hip line.

After ascertaining the width, realizing
that it is narrower where tied than at the
other parts, draw the lines for the fullness,
all lines fitting between other lines.

The left-hand side of the sash, after
going under the right side, hangs over it
and both ends hang straight down. Note
XX on the ends. The ends being cut
diagonally, the lines are like the lines of
the over-skirt. (Lesson III, Fig. (?.)

THE TIGHT JACKET

In Fig. R is shown a tight jacket effect
over a kimona sleeve, the jacket having
a large armhole and extending past the
under-waist on the shoulder and under the
arm.

As learned in Lesson II, the near side
of the V neck takes a slight reverse curve,
therefore in Fig. R, continue this reverse
curve to the point. This makes the waist
fit well over the bust.

The V at the bottom must also be on the
center line. Draw the guide line to the
other point, which is a continuation of the
far side of the V neck. This guide line
continued still farther will give the V
opening at the bottom of the jacket.

The collar turns over, therefore the lines
for the plaiting will take sharp turns in
another direction.

In drawing a kimona sleeve place the
normal armhole, then make the armhole
much looser. This causes a deep wrinkle
when the arm is down.

COLLAR 4

In Collar 4 is shown a deep collar with a
point hanging over the sleeve. Note the

STUDENT'S MANUAL OF FASHION DRAWING

LESSON VI

change of direction where the collar hangs
over the sleeve.

COLLAR 6

Collar 5 has a ruffle placed evenly around
the top, extending well past the sides. If
the student understands the lines of the
ruffle (Lesson IV), he can easily place the
same on this collar.

COLLAR 6

Collar 6 is the front of a sailor collar.
Make the points directly opposite each
other. In this collar the student will
observe how the collar is sewed on the edge
of the neck, extending past it.

COLLAR 7

Collar 7 happens to be more of a cape
effect than a collar. It hangs well down
over the shoulders, rippling slightly at the
bottom. Note the XX lines, the under
surface of the goods, and where the cape
fits around the sleeve.

Note all the guide lines around the neck,
as the collar must have the appearance of
going around the neck at the same height.

THE POINTED GIRDLE

In the deep pointed girdle, the lines are
drawn as explained in Fig. Q. The bottom
line follows the waist line, and the top, on
the near side, curves down, while the far
side takes the opposite curve around the
form.

See application of Lesson V.

LESSON VI

FITTING WAISTS AND THE SASH ON THE WAIST FORM

LESSON VII
THE LARGE COAT

A form in a large coat has the appearance
of being somewhat stouter than a form in
just a dress, but in reality it is the coat
that gives this effect.

Draw the form the same size as for a
dress. Place the coat upon it according
to previous instructions, but let the coat
touch the form on the shoulders, chest,
and bust only. Elsewhere it hangs well
away from the form, as designated by the
guide lines seen through the coat.

As the collar is high, standing well up
at the back of the neck, the near side view
of the V is a straighter line than the reverse
curve in Lesson II, Fig. C. The large
collar breaks on the shoulder, but do not
bring the break below the shoulder line.

The belt being very wide and standing
well away from the form, the curve is some-
what less than a belt which fits the form
tightly.

When drawing the near side of the collar
to the opening; do not touch the line of the
opening, thus giving the collar the appear-
ance of being turned over.

For a double-breasted coat, all buttons
must be an even distance from the center
line and evenly spaced, as shown by the
guide lines.

As the coat sets away from the form, the
fullness above and below the belt does not
cling to it and does not follow the form as
in Lesson V, Fig. P, but hangs straight
up and down, the fullness above and below
the belt being on a line.

The bottom of a coat should be drawn

the same as the bottom of a dress. Be
careful to make the opening at X promi-
nent.

Study the separate belt at the bottom of
the lesson plate. Place the point directly
in the middle, having the diagonal lines
even. Note the vertical guide line where
the point ends. Make one side of the belt
lap well over the other.

The turn-over point of the belt must
have the appearance of going over the
top of the belt, so do not draw this piece
even with the top of the belt. The button
is in the middle of the point and the
diagonal sides are even.

Study the back collar. It curves up at
the top, but being very deep it takes a
downward curve at the bottom. Note the
breaks which show that the collar is going
around the neck toward the front.

In drawing the collar with the reveres
make the points of the collar opposite
each other, also the reveres, and the
places where the collar and reveres are
joined. Refer to Lessons V and VI for
collars.

In drawing the shawl collar, show the
thickness of the goods by not connecting
the front lines with the back of the collar.

Fig. T is a very simple coat illustrating
the principles of how a large coat should
fit. The student is expected, however,
to draw all kinds of coats, and if he keeps
this lesson and all previous ones in mind,
there should be no difficulty in rendering
all coats satisfactorily.

LESSON VII

FITTING THE LARGE COAT ON THE FORM

LESSON VIII

PLAIDS, STRIPES AND FIGURES

By this time the student should be pro-
ficient in drawing dresses, and if this is the
case, plaids, stripes and figures will seem
very easy.

Around Fig. U will be seen many ex-
amples of plaids, but the student should
pay no attention to them until the prin-
ciple of all plaids is understood.

It is assumed that the student has drawn
the outline of Fig. U, and that a very good
bottom line has been secured. If not,
re-draw the outline before attempting to
plaid it.

Suppose it is desired to stripe this dress
up and down. Begin on the skirt by
placing all stripes at the belt, using the
instructions given for the plaited skirt,
Lesson III, Fig. F, and draw directly down
to the bottom line, but do not flare as you
did the plaits. Some of the stripes will
vanish at the sides.

On the waist the stripes follow the center
line, fitting nicely over the bust. They
continue to do this until they reach the
arm, where they take the opposite direc-
tion and follow the under-arm line. Re-
member the instructions given in Lesson
II, "The form is oval and the lines follow
the form." On the sleeve they follow the
form up and down.

On this foundation any kind of a stripe
may be created.

To place a plaid on a dress draw all up
and down stripes, then all stripes going
around, being careful to make the squares
as even as possible.

All stripes running around a skirt should
be marked on the center line from the
bottom up to the waist, placing one-half
of a square on each side of the center line.

The stripes near the bottom follow the
bottom line of the dress (as did the hem
and tuck), going in and out of the full-
ness. They continue to do this, gradually
changing until, at the waist, they follow
the waist line. Be particular to make
the stripes go in and out of the fullness,
and where the fullness stops, go around the
skirt in good even plaids.

When placing the stripes around, do not
allow them to touch XX on the top, thus
leaving a high light on top of the fold,
but underneath draw them close to XX,
and under stripes being well in the shadow.

On the edges of plaid pockets, cuffs, col-
lars, belts, etc., you will also observe this
high light, which means that the lines of
the stripes are not drawn to the edge of the
pockets, cuffs, etc.

On the waist the stripes running around
follow the waist line, waving slightly,
if the waist is full. They change gradually
at the bust until they follow the shoulder
line.

On the sleeve they follow its bottom line,
changing a little as they approach the
shoulder.

On this foundation any kind of a plaid
may be constructed.

Study all the examples of plaids, and
note the guide lines, all guide lines being
placed in pencil only.

In placing a texture all over a dress, it
is well to obtain a foundation for the direc-
tion of lines. A large plaid in pencil will
i serve this purpose. Keep all broken lines
for the texture in the direction of this plaid.
See Example No. 4.

In Plaid No. 1 draw a simple plaid in
pencil and the short diagonal lines only in
27

STUDENT'S MANUAL OF FASHION DRAWING LESSON VIII

ink. These diagonal lines must be the
same length, spaced evenly, and must
take the same direction. In Plaid No. 2
we have one heavy line to three fine
ones. Place all heavy lines first, which
form a plaid. Cut this plaid in the center
by a fine line in both directions, then place
the remaining fine lines on each side of
the center fine line. Plaid No. 3 is very
simple, but instead of being straight on
the goods it is drawn diagonally. Plaids
No. 5 and 6 are two more examples of
simple plaids. Plaid No. 7 is more com-
plicated. After drawing the guide lines
in pencil, draw the short diagonal ink
lines on these guide lines, the lines of the
up and down stripes taking a different
direction from the lines of the cross
stripes. When this is finished, connect the
stripes with longer diagonal lines, thus
obtaining a wide stripe in both directions,
which forms a plaid of three different tones
of squares.

No. 8 is an illustration of how to
figure a skirt with roses. Place all roses,
indicating them by rings, some being lost
under XX, and some being cut off at the

bottom or at the side. These may be
placed by means of squares, or just scat-
tered over the skirt. When the rings cover
the skirt to the best advantage, draw the
roses carefully.

Study all plaids and stripes and use the
same by placing them on simple dresses.
Also try to create new plaids.

Plaids are very attractive, particularly
black and white checks. See the illus-
tration of the check on the sleeve. When
drawing the check, always connect the
black squares from corner to corner like
a checker board. If you attempt to skip
about, you will surely come to grief, as one
mistake will throw all of the checks out.

Another way to plaid a skirt is to begin
at the top and work downward. If this
is done, the plaids will be cut off at the
bottom. This may be more truly the
way the cloth is cut but it is not as at-
tractive.

When placing a plaid or texture all over
a dress, it is necessary to strengthen the
outline of the drawing, as the lines drawn
for an outline drawing will not show up
against the texture.

LESSON VIII

FOUNDATION LINES FOR ALL PLAIDS AND STRIPES

LESSON IX

SHIRRING, SCALLOPS, LACING, ETC.

In drawing this figure the student must
apply the principles of Lesson III (over-
skirts) and Lesson VI (waist with yoke,
short sleeve, and vest), but instead of the
yoke and waist proper being sewed directly
together, they are joined by a cord, the
goods being shirred over it.

You will find that the over-skirt is
shirred over a cord in three places, the
goods falling free from the lowest cord.
The cords cling to the form, while the goods
between them puffs slightly, extending
past the normal form line.

All lines for the shirring are drawn with
quick snappy strokes. Some lines may
connect the cords, but most of them reach
only part way, the lines from above falling
between the lines going up from below.
The lines take somewhat the direction of
the puff, but do not curve them too much.
Note the guide lines for the cording, and
the unevenness of the cord where the goods
is shirred over it.

If material is shirred without a cord,
there will be but one line.

You will notice that the bottom of the
skirts are designated by guide lines,
only, the width of the scallop.

All scallops must be the same size, hang
straight down, and go in and out of the full-
ness. This effect may be helped by break-
ing a scallop at XX. If you place the
whole scallop on top of XX, draw but half

a scallop underneath it, and vice versa.

Draw the lacing as shown in the large
example. Here, as on the dress, the open-
ing is separated, as in this position the idea
can be more readily explained than if
the opening were pulled closely together.

Draw all holes opposite each other,
then the lacing. Start at the top and run
the ribbon through as you would do if
you were lacing your own dress. Notice
how the ribbon comes out of one hole
and goes under the edge of the opening
and under the next hole on the opposite
side, comes out of that hole, etc.

The easiest way to obtain this effect is
to draw all the lacing in one direction
(the ones on top), then the lacing in the
opposite direction, which is underneath.

Draw the guide lines for the cord,
throwing one end over the other. The
ends hang straight down. Study the
reverse curves which fit over these guide
lines and form the cord.

Study and draw the part of the full
girdle with a frill at the opening, the
smocking and the tassel. See how the
lines for the tassel curve, showing that
it has inside strands as well as the ones
drawn.

As an application of this lesson, draw
shirred dresses, and also place a scallop
on the collar, cuffs, and skirt of a simple
dress. Study different shapes of scallops.

LESSON IX

SHIRRING, SCALLOPS, LACING, ETC.

LESSON X

BOWS, RIBBONS AND FLOWERS

A bow must be smart looking and as if
made of new ribbon, the loops and ends
fitting well into the knot ; that is, the knot
must wrap around the loops and ends, pull-
ing them in tightly.

In Bow No. 1, notice how the knot
curves around, as also do the wrinkles
on the knot. The loops stand out, while
the ends hang straight down. Note the
XX lines on the ends. You see inside of
one of the loops, hence the over-skirt line
(Lesson III, Fig G).

Bow No. 2 is an example of a stiff-
pointed bow for the waist, and as in Bow
No. 1, the knot and wrinkles curve around
the ends.

Bow No. 3 is an example of a four-in-
hand, the knot and wrinkles curving around
the ends, but the knot is a different shape,
caused by the way the ribbon is tied.

In Bow No. 4 we have the ends only;
here we have not an outline alone to deal
with, but an explanation of how to put the
ink on for black ribbon. Most of this
drawing is of ink with the paper left for
the high lights, the heavy parts fitting in
between other heavy parts. Outline all
places to be made solid, then ink in with a
small brush. See Lesson XIX.

Bow No. 5 is a stiff hat bow and follows
the principles of loops. Note the inside
of the loop as in Bow No. 1.

Bow No. 6 follows the principles of Bow
No. 1, but being a neck bow with short
ends, the ends take the direction of the
loops.

Bow No. 7 is a rosette with ends.
Watch the direction of the lines to obtain
this effect.

At the bottom of the page is illustrated
a broad ribbon run through holes. Note
the guide lines at the top and bottom of the
holes. All holes must be the same size,
evenly spaced, and not drawn too near the
edge of banding. If the ribbon is wide,
it will bulge at the top and bottom, causing
the lines to take a rounding shape in-
stead of being straight like the openings.
A ribbon the width of the holes will not
wrinkle as this wide one does.

If a ribbon is turned over, the width
of the ribbon vanishes where it is turned.

When drawing the patent leather belt,
outline the place for the black after the
belt is outlined, then ink in with a brush.
A belt like this is hard and shiny, therefore
it will have a few irregular high lights,
also a line of light around the edge except
on the dark side.

Remember the instruction on the buckle
given in Lesson V, but hi outlining a
buckle on a solid back ground, remember
that the outline of the buckle where it
touches the belt will be a part of the back
ground when it is inked in, so gauge
accordingly.

Flowers are expressed with a few lines.
Draw the full front flower, also the side
view. Notice how the petals fit into each
other.

Practicedrawingbowsand flowers. Make
a careful study of black ribbon and bows,

LESSON X

PRINCIPAL LINES OF RIBBONS, BOWS AND FLOWERS

LESSON XI
TO MAKE A SKETCH FROM A COSTUME

To make a sketch directly from the dress
seems a very difficult problem to the in-
experienced art student; and it would be
if an attempt were made to draw it as one
would draw a flower or a vase. But if
the student has thoroughly mastered all
previous lessons and applies them as this
lesson is studied, she will have no diffi-
culty in sketching any costume in a short
space of time.

In sketching a dress directly from the
model, proceed as follows:

Let us imagine that we are viewing the
dress itself which is on a dressmaker's
form: After drawing the form, look at
the dress carefully, taking in everything
regarding it. Ask yourself these ques-
tions, and as you answer them, place the
proportions on your form, using light lines.

Question. Is the neck high or low?

Answer. High in the back and low in
the front.

Question. What shape is the front open-
ing?

Answer. It is V-shaped.

Question. How low does the V open?

Answer. Less than halfway down the
front.

Draw so applying principles of Lesson
II, Fig. C.

Question. What is the shape of the
collar?

Answer. It is a deep sailor collar which
is sewed on the V neck more than halfway
down. The collar goes toward the back
and falls over the normal arm hole. (Les-
son VI, Collar 4.)

Question. Is the waist all in one piece?

Answer. No. It has an over- waist
which fits up to the middle of the shoulders

(Lesson VI, Fig. R) and is gathered in
with the under-waist at the belt where
it blouses over the girdle. (Lesson II,
Fig. C.)

Question. What kind of a sleeve has it?

Answer. A long kimona sleeve (Lesson
VI, Fig. R) fulled into a deep gauntlet.
(Lesson VI, Fig. Q.)

Question. Of what does the skirt con-
sist?

Answer. Three deep flounces, the lower
two being sewed on the underskirt.

The two lower flounces are the same
depth while the top one is longer. The
latter hangs down as low as the sleeve.

Question. How wide is the lace inser-
tion on the sleeve?

Answer. About one-seventh of the
depth of the gauntlet.

Question. How wide is the lace inser-
tion on the skirt?

Answer. Twice the width of the in-
sertion on the sleeves.

Question. What kind of buttons has it?

Answer. Three small buttons on each
side of the over-waist which extend from
the collar to the bottom of the V.

Question. What kind of a girdle has it?

Answer. A crushed girdle as wide as
two-thirds of the width of the gauntlet.
(Lesson VI, Fig. Q.)

When you feel that all these propor-
tions are placed on your form correctly,
strengthen them with clean-cut, snappy
strokes. Compare this plate with Lesson
II. Note how much easier the bottom
lines of the flounces are, how some folds
turn one way, and some the other. Note
carefully all XX lines and the lines for
the fullness. You can make a sketch even

STUDENT'S MANUAL OF FASHION DRAWING

LESSON XI

looser than this by breaking some lines in
the high lights.

A guide line through the center of the
insertion will be a help in placing a
design.

If it is necessary to record the names
of the materials used, write them out
opposite each material, connecting them
to the material with horizontal lines.

All dimensions for the back view must
accord with the front. This front view
being two and one-half times larger than
the back, all dimensions on it must be
two and one-half times larger. Refer to
Lesson II, Figs. D and E.

If the exact design of the lace or em-
broidery is required, make a careful sketch
of it in the corner of your paper.

It is well to try to remember costumes
you see in the shops and on people. By
looking at them closely and asking your-
self questions you can remember enough
to draw them afterwards. This is excel-
lent practice and will aid you greatly in
obtaining ideas for original designing.

Practice sketching from costumes, as the
art of accurate sketching is worth money,
and the more you sketch the quicker you
will become and the more valuable to your
employer.

LESSON XI

QUICK METHOD OF SKETCHING COSTUMES

LESSON XII
FEATURES

In studying the human figure, each part
will be dealt with separately, then the
figure as a whole will be considered. The
dressing-up process will then be considered,
which will be extremely interesting, as
the principles learned in the first ten les-
sons will apply.

In these lessons on anatomy, no attempt
is made to teach the muscles, bones, and
planes of the body, as used by artists
who paint the nude figure from life;
but a complete understanding of these
lessons will enable the student to render
in pen and ink the human figure as needed
in the fashion field.

These plates are outline drawings, a
good outline being a very essential point;
and when one understands proportion,
poise, and the outline, he has made great
progress. A few of the principal muscles
and bones which come in contact with the
outline are mentioned here, and the student
should become very familiar with them.

There are many books on anatomy,
which may be taken from the public
libraries, and when one understands the
outline construction as given here, he may
go into the subject as deeply as he wishes.

Lesson XII deals with the features which
are illustrated in the full, three-quarter,
and profile views. After you understand
the construction of the features, varia-
tions of position will not seem difficult.

THE EYE (FULL FRONT VIEW)

Begin with the full front eye in the upper
left-hand corner of the lesson plate.

I N designates the inner part and is
slighlly^lower than the outer part. Note
the guide line which runs slightly up.

The diagonal cross line indicates the widest
part of the whole eye.

On the upper lid there are five planes,
but we will reduce them to three. Note
the direction of the three planes marked
above the eye and the two planes below it.

As the upper lid projects over the lower,
the eye-ball has a tendency to slant back-
wards at the bottom, which effect is not
very noticeable in the front view.

The ball must fit well under the upper
lid and not project.

The deep lashes on. the upper lid cause
a shadow which hides the eye still more,
giving it a soft expression. By continuing
the ball through the upper lid one can prove
if the ball is hidden enough.

The lower lid is soft and delicate and is
often omitted in fashions. In pen and
ink drawings you will observe a few lashes
suggested on the upper lid, if so, draw them
on the corresponding sides of both eyes.
Some artists indicate the lashes all around
both lids. If done correctly, this is very
effective.

The eye-ball moves from side to side
raising the lid as it goes.

In the front view the ball is round,
as is also the pupil, the ball occupying
about one-third of the width of the eye.
Note the little catch light on the ball,
which curves around it and gives the eye
light.

Make the eye in good proportion, the
whole length being twice the height.

THE EYE (THREE-QUARTER VIEW)

If the construction of the full view of
the eye is understood, the three-quarter
view will seem very simple.

STUDENT'S MANUAL OF FASHION DRAWING

LESSON XII

I N is the inner part. The student will
observe that this is the other eye. Note
the slant up to the outer side, also the
diagonal line through its widest part.
In this view the eye is turned away from
the observer, which causes it to be fore-
shortened. He sees the under side of
the lashes, which show mostly on the far
side, hiding part of the upper lid on that
side.

In fashions it is customary to show
lashes on the far side and the lid on the near
side, one plane being hidden by the lashes.

Note the three planes on the upper lid
and the two on the lower, as in the full
eye.

If the eye is foreshortened, the ball and
pupil must also be foreshortened, hence
the ball is not a perfect round, but slightly
oval. As the upper lid is over the lower,
the slant of the ball backward is apparent.
In the profile view it is still more so, as
seen by the illustration.

THE EYE (PROFILE VIEW)

In the profile view we see but half the
eye, the lashes being on the far side and the
lid on the near.

Be sure to draw the upper lid well over
the lower, and make the ball an ellipse,
slanting it backward. You will notice
that the lid takes the shape of a reverse
curve, which is illustrated with an exag-
gerated line above the eye.

In fashions the upper part of the upper
lid is often omitted, being indicated at
the corners only.

THE LOOKING DOWN EYE (FULL FRONT
VIEW)

The full front, looking down eye slants
slightly downward at the outside. It
forms a reverse curve. See both eyes at
the bottom of the lesson plate. A deep
shadow is cast under the eye by the deep
lashes, also by the eye being slightly open.

In the center the shadow is darkest. In
the sleeping eye the lids are closed, hence
the shadow is not as heavy.

The height is about one-half the length,
the height being mostly on the upper lid,
which is fully exposed, while the lower lid
is hidden. Notice the five planes on the
upper lid; reduce them to three.

THE LOOKING DOWN EYE (THREE-QUAR-
TER VIEW)

Follow all instructions for the full
looking-down eye but foreshorten as in
the three-quarter open eye, part of the
reverse curve being lost.

THE LOOKING DOWN EYE (PROFILE VIEW)

In the looking-down profile view the
reverse curve still remains, but as the lid
is closed, it slants downward not upward,
the deepest shadow being on the far side
where the lashes show more prominently.

The eyebrow is on the forehead bone,
being thicker at the inside, from there it
slants upward, fitting around the fore-
head bone. It gradually grows thinner
as it reaches its outer extremity.

Place the eye a proper distance from the
nose. Place the eye a little lower than
where the nose begins.

THE MOUTH (FULL FRONT VIEW)

Viewing the mouth directly in front one
will observe the same shape and distance
on each side of the center line.

Study one side carefully, beginning at
the left, then reproduce the same effect
on the other side.

The upper lip has two planes, while the
lower lip has three. See the lines of direc-
tion of these planes marked above and
below the mouth.

In the center of the upper lip two Vs
are formed, one at the top and the other at
the bottom, the top V being deeper and

LESSON XII

FEATURES

more pronounced. They are both on the
center line. Do not separate the points
of the upper V too far.

Where the lips meet, two very pretty
reverse curves are formed.

The outer extremities of the upper lip
are much lower than at the center, but after
drooping these extremities, bring the ends
up again. This causes the mouth to go
around the face and also to smile. The
upper lip fits well over the lower, which is
more apparent in the three-quarter view
than in the full view. The whole mouth
measures about two and one-half times its
height, having a depression at each cor-
ner, which causes a shadow.

Draw this mouth many times; try to
make it graceful with pretty curves, and
not " pointy."

THE OPEN MOUTH (FULL FRONT VIEW)

In the open mouth the upper jaw remains
stationary while the lower one drops. If
only this is done there will be a vacant
appearance to the whole countenance. In
the open smiling mouth, the. jaws may
be together, but the lips are parted, and
drawn sideways. This causes them to be
slightly thinner, making the V's spread.

Follow all directions for the closed mouth
but part the lips. Do not part too far.

THE MOUTH (THREE-QUARTER VIEW)

In the closed three-quarter mouth, the
upper lip extends past the lower, conse-
quently the center line of the upper lip
extends past the center line of the lower
lip. In the open three-quarter mouth the
lower V on the upper lip is spread, and
the far side of the lower part of the upper
lip takes the opposite curve from the near
side, thus making the mouth on that side
go around the face.

THE MOUTH (PROFILE VIEW)

In this view we see exactly how far the
upper lip projects over the lower, and how

far the outer extremities are drooped.
This is but one-half of the mouth, there-
fore it shows but one side of the V's, the
reverse curve between the lips being very
prominent.

In connection with this mouth study
the figure at the bottom of the page. Note
the pretty curve between the nose and the
upper lip, and how the line below the mouth
slants back to the chin.

Study all directions of the lower lip.
In this view the thickness of the upper lip
shows.

THE NOSE (FRONT VIEW)

A nose viewed directly in front does not
show all its parts to advantage. Study
the nose in connection with the looking
down eyes at the bottom of the page and
the three planes of the nose (below the
open profile mouth). On the forehead
between the brows is a diamond shape and
from its lower part the nose begins.

D stands for the diamond and B for the
bridge, this being the bone of the nose.
The whole nose spreads as it leaves this
projection. The end of the nose is soft,
as are also the wings, which are on each
side of the end.

In fashions the line for the bridge is often
omitted.

Under the nose there are three planes,
the nostrils being under the wings or in
the outer planes.

The nostrils slant backward, being
thinner in the front; note the lines of
direction for all planes which are under the
nose, the piece between the nostrils being
on the lower plane. If this piece is
drawn in the three-quarter view of the
face, it helps to give the effect of the
under plane of the nose.

THE NOSE (THREE-QUARTER VIEW)

In this view the bridge is prominent
and the far side of the wing and nostril

42'

STUDENT'S MANUAL OF FASHION DRAWING LESSON XII

are lost, causing the far nostril to touch
the under piece of the nose.

In the three-quarter nose tipped side-
wise, one can see more of these under
planes.

In Lesson XIV is given the construction
lines for placing features.

THE NOSE (PROFILE VIEW)

In this view all parts are apparent.
See the general line of direction for a young

nose; an old person's nose being inclined
to point downward.

THE EAR

In drawing fashion ladies, the ear is
hidden unless the hair is brushed back
tightly.

The ear slants backwards and is divided
into three equal parts, the opening being
in the center divisions. This is the full
ear as seen on the profile face.

On the full face less of the ear shows.

LESSON XII

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CONSTRUCTIOW OF THE EYES, ROSE, MOUTH AND EAR

LESSON XIII

THE HEAD AND HAIR

Lessons XIII and XIV should be studied
together, as they bear upon the same
subject, " heads." By studying and ap-
plying the principles of these lessons, the
student will be able to use a picture as a
model and from it construct an original
head.

You will find in fashion figures many
types of faces, some pretty and some
freaky; many business houses preferring
the first type while others prefer the second.

After you have learned to draw a normal
head with normal features, it is suggested
that you try to create an original head,
which might make a hit with the public;
but in order to do this you must thoroughly
understand the foundation principles of
drawing for all heads.

OVALS FOR HEADS

Begin by drawing the ovals. Here we
have three ovals, full, three-quarter, and
the profile views, on which may be con-
structed the full, three-quarter and profile
heads.

Oval No. 1 is sketched in by beginning
at the arrow and making a sweep around
the oval, which is egg shape; that is, it is
widest higher than the center or through
the eyebrows. Continue this line around
the oval and down one side of the neck.
Do not make the space between the arrow
and the neck line TOO wide. It is well to
redraw this oval carefully before placing
the features.

From the top of the head draw the center
line down through the chin. As this is
the full front view, this line will be in the
middle of the drawing.

Oval No. 2 is drawn the same way, but
as the head is turned partly away from you
it gives the three-quarter view. This oval
is not tipped as No. 1 is.

A head that is turned is moved from
side to side in an upright position. When
a head is tipped, the top of it is bent to
the right, left, back or front. Hence the
chin takes the opposite direction.

The center line of oval No. 2 is in the
middle of the face but not in the middle
of the drawing. See how it curves around
the oval.

Oval No. 3 is quite different, the outline
of the features giving it its shape. From
the nose the slant is back to the forehead
and down to the chin, which is also back.
Do not slant too much. The oval is full
at the back. Two lines are drawn for the
neck, indicating that the head goes slightly
forward from the shoulders. Note the
cross line showing that the back of the
neck begins on a line with the nose.

In young people the eyes are in the
middle of the head, so in fashions we want
the faces to look fresh and new as well as
the dresses. Place the^yes in the middle
of the head and have them an eye apart.
The eyebrows in a woman are higher than
in a man. Place them high enough.

The nose is halfway between the eye-
brows and the chin and the mouth is one-
third of the way down from the nose to the
chin. Indicate these proportions by short
lines as in oval No. 2.

On these three ovals may be placed the
three heads below; but before doing so
take up Lesson XIV and understand the
construction of a head in its various
positions.

STUDENT'S MANUAL OF FASHION DRAWING LESSON4 XIII

If the student understands the construc-
tion of the features and the head as given
in Lesson XIV, also the few points regard-
ing the hair, he will be able to render these
three heads with ease. Remember the
hair must fit the head and be soft and
wavy, the lines following the direction of
the head and hair where rolled.

THE FULL FRONT HEAD

On the full front view of the head the
hair is parted at the side, drops on the fore-
head, goes toward the back, fits around
the head at the temples, and goes away
from the face over the ears. The lines
should be broken on the edges and fit
between each other in a soft, curvy effect.
Draw just a few lines at first, in the right
direction.

When dark hair is required, continue
to fill in between these lines or make the
lines heavier in the hollows of the hair and
underneath the puffed out places.

THE THREE-QUARTER HEAD

In the three-quarter view, the hair is
brushed directly back, fitting around the
head toward the back at the temples and
curling around the .cheek bone. Do not
show too much of the hair on the far side
of the three-quarter face.

THE PROFILE HEAD

In the profile view, the hair, being parted
at the side, follows the head in all direc-
tions.

When the hair is built up, that part will
project past the normal head line, while
the flat part will cling closely to it. Light
hair has black lines indicating the direc-
tion. Black hair has white lines, taking
the same direction.

In the lower profile the hair is arranged
quite differently, consequently the lines
will fall in a different direction ; but observe
that they fit the head. See Lesson XIX
on Pen and Ink Lines.

Get the direction of all lines, first with
pencil, then with a pen, then ink in with a
brush, leaving the direction white (or the
surface of the paper). As the hair is soft
at the edge, do not continue the solid ink
to the extreme limit, but draw fine lines
which extend past the solid mass.

Study the curl. See how the lines fit
around to form the curl.

On the dark side the lines are heavy and
on the light side fine lines are drawn which
fit between the dark ones. Note the hole
formed at the bottom. Notice how the
wrong side of the loose part is exposed to
view and how the lines fit around this
part more loosely. When drawing a black
curl, obtain the general direction of the
lines, then fill in until dark enough.

TO PLACE THE HAT ON THE HEAD

Never draw the hat and place the face
under it. Always draw a full head and
put the hat upon it.

The hat should be placed on the head to
give stylish effect. Tip it slightly to one
side. If this is done, one of the eyebrows
will be hidden. The crown must fit the
head, and the far side of the brim must be
continuous.

After studying these two lessons, study
pen-and-ink heads in the fashion papers.
Be sure the heads are normal before
attempting to draw them. Keep all rules
in mind when copying them, and you will
find you can create a type of face which is
strictly original.

After finishing a drawing of any kind,
decide just what you have learned on that
drawing. Be systematic in this and you
will continue to improve.

LESSON XIII

"-•5,

PtACING THE FEATURES, HAIR AMD HAT ON THE HEAD

LESSON XIV
THE CONSTRUCTION OF THE HEAD

THE FULL FRONT HEAD

Head No. 1 is a view directly in front,
in a perfectly straight position. The
placing of the features was given in Lesson
XIII. The ears are between the eyebrows
and the nose.

After drawing the center lines and the
cross guide lines at the correct distances,
draw the features. Remember that there
is the space of an eye between the eyes,
and the space of half an eye between
the eye and the edge of the face. Be care-
ful to make the eyes mates and have them
set the same under the lids.

In the three-quarter view, the far eye
might be a trifle smaller, but never larger.
Try to keep them the same size.

The clavicle (C), or collar bone, extends
from the pit of the neck (PN), to where
the arm joins the body. It slants slightly
backward, which shows that the chest is
well forward from the sfioulders. The
lines of the neck extend -vfr6m the ears
to the middle of these bones.

The sterno mastoid muscle (k/[) runs
from the ears to4iie;pit of the ne'<fc. In
the front view of the nesk this musc^ gives
the neck a slight outward curve. In the
front view the cheek bone is not as appar-
ent as in the three-quarter view. ->••*"

The line of the outline<6f fhelace, from
the ear, descends, slanting inward to the ;
jaw bdfie, then in agai$swcifce ^jtojminently
to th*e chin, which runs straight across.
The head fits on the neck atthe ears, but
seen in this position it appears opposite
the jaw bone.

The Irapezius muscle (TZ) is on the
shoulders, fitting on the clavicle in front

and extending down the back in the shape
of a V. The general direction from the
ear to the shoulder curves in, but remem-
ber that TZ curves out, as do all the
muscles of the body.

Head No. 2 is tipped backward, also
sideways, consequently one sees under the
chin and loses the top of the head. The
further back the head is thrown, tjje more
pronounced this is. See Head No. 3.
A head in this position causes the construc-
tion lines to curve up. The more the head
is thrown back, the more the lines curve
and the closer together they appear. The
neck appears longer as one views more of it.

All features must follow these guide lines.

In Head No. 3 one sees where the neck
really joins the head.

Note the triangle formed on all faces.
This triangle takes in the front of the face,
while the remaining portion is on the side.
When the head is tipjlbd down, all construc-
tion lines curve dowh. The nose appears
longer, the under pl^ne and the chin are
lost, and one cafi^set more of the top of
the head. The moreT the head is tipped
down the more pronounced • these effects i'v
are. The neqk becoitfes -short and the top
of the, head full. (Head No. 4). As one
lock's down on £his head the upper lip
appears thinner and the eyebrows nearer
the eyes.

THE PROFILE HEAD

Draw the correct oval for the profile
head on which place Head No. 5.

In Lesson XIII, you learned the outline
of the features, also about the forehead
bone, and the lines of the chin. The jaw

STUDENT'S MANUAL OF FASHION DRAWING LESSON XIV

bone runs up to the ear, which is as far
from the eye as from the mouth. The
trapezius muscle is at the back of the neck,
and, while the general direction of the
back of the neck slopes in, you must
have the feeling of a slight outward effect
for this muscle.

Note the diagonal lines from the front
to the back of the neck, showing that the
neck is higher in the back than in the
front. Watch the front line of the neck
where it joins the jaw, and the reverse
curve which is more prominent in a man
than a woman. A man's neck is shorter
than a woman's, measuring from the nose
to the chin the same as from chin to PN.

Do not draw a woman's neck too long.

THE THREE-QUARTER HEAD

In Head No. 6, which is the three-
quarter view, the cheek bone is very
noticeable. Note the outline of the far
side of the face. The forehead bone pro-
jects, the outline going in slightly above
it. The line from this bone descends,
goes into the eye, out to the cheek bone,
down to the jaw bone. Show definitely
where the line leaves the cheek and runs
into the chin, which is straight across, but
not as wide as in the full front view. The
jaw runs up to the ear, which is at the
back of the head.

Remember to place three-quarter fea-
tures on a three-quarter face and have the
center line in the middle of the face.

THE SEVEN-EIGHTHS HEAD

In the seven-eighths view, Head No. 9,
the far side of the face is lost still more as
are also the features. This view comes
between those shown by Heads No. 5 and
No. 6, therefore the ear is nearer the back
than in No. 5 and not as near as in No. 6.
In this view the line of the chin from the
mouth is quite noticeable.

Draw the fashion Head No. 7, and note
the three planes of the cap as they fit
around the head.

Head No. 8 is the profile view tipped
away from you. Study and draw this,
applying all points learned in this lesson.

Always construct a head by drawing
the oval and placing all guide lines before
attempting to draw the features. Practice
drawing heads from the fashion papers.
Copy them understandingly, using the
charts as guides.

Make a collection of heads in different
positions.

The student is advised to use pen-and-
ink drawings to draw from as the lines
can be seen plainly, but all photographs
and wash drawings should be saved.

Select large pictures of heads and draw
the construction lines through the prope^
places.

Study the people on the cars, also the
advertisements in the cars. Be on the
lookout everywhere for some point of
information.

See on how many pictures you can apply
the knowledge gained from this lesson.

LESSON XIV

CONSTRUCTION OF THE HEAD IN DIFFERENT POSITIONS

LESSON XV
THE ARM AND HAND

Arms and hands require a great deal of
close study before they can be drawn
satisfactorily. In this lesson are given
the proportions, and direction of the prin-
cipal lines of an arm and hand, breaks
being left where the lines change their
direction.

Leave all breaks when drawing the
figures from the chart.

Place your own arm in front of a mirror
in the positions given, and see if you can
follow the points illustrated. A woman's
arm being more slender and delicate than
a man's, the muscles are not so clearly
defined. When drawing arms in fashions,
bear this in mind, but use the chart as a
guide.

No matter how slender or delicate an
arm is, it must have the shape of an arm
and not look like a post. Hands, in fash-
ions, are not chubby, except on children,
but are slender, the fingers being long and
tapering.

PROPORTIONS OF THE ARM AND HAND

Begin with Fig. 1. The upper part of
the arm equals the lower, and the arm
tapers from the shoulder to the wrist, ex-
cept below the elbow, which is the widest
part of the whole arm, in this position.

Ascertain the direction of the upper part
of the arm, then of the lower, then of the
hand. To have three directions for the
arm and hand, makes a more graceful
drawing.

On the arm are many intricate muscles,
a few only being mentioned here.

The deltoid (D) is at the top on the out-
side. The biceps (B) and triceps (T)

are on the shaft, the biceps being on the
front part and the triceps on the back.
The supinator longus (SL) is very promi-
nent, especially so when the arm is bent.
Figs. 3 and 6.

The lower projection of the deltoid
is lower than where the inner part of
the arm joins the body. Note the cross
line on the lower part of the arm,
which indicates that the inside bulge is
higher than the outside. This is the end
of the humerus, or upper bone of the
arm.

Fig. 1 is the view of the arm extended,
with the thumb on the outside. This
shows the inner view of the hand. It is
not a position used in fashions, but a good
one to study from.

The middle finger is the longest and the
little one the shortest; the others being
of nearly equal length. The middle and
next finger are inclined to fall together,
as in Fig. 2. In Fig. 2 the whole arm
is turned over, the biceps being on the
inside and the triceps on the outside.
The back of the hand is seen, and the
thumb, which is on the inside and turned
under, is lost to view.

Place your own hand and arm in the
position of Fig. 1, then turn it over to the
position of Fig. 2. Place your hand in
the position of Fig. 1, and turn the lower
part only to the position of Fig. 5.

There is one bone, the humerus, in the
upper part of the arm, and two bones, the
radius and the ulna in the lower. The
radius rotates over the ulna causing the
thumb to fall on the inside. More gen-
erally the arm hangs down more in the
position of Fig. 2, with the biceps on the

STUDENT'S MANUAL OF FASHION DRAWING

LESSON XV

inside. In this position the lower part
may be turned still more.

When the arm is bent as in Fig. 3, or
raised as in Fig. 6, the line for the supi-
nator longus, if continued, would run to
the elbow. In Fig. 6 the humerus (H)
and ulna (U) show at the elbow, the deltoid
is raised and the trapezius shows back of
the deltoid. Take up Fig. 7 which is
the outside of the hand, learn its propor-
tions, then refer to the inside, Fig. 1. K is
opposite the knuckles, and is half way
between the wrist and the ends of the
fingers.

In Fig. 1 the crease in the palm is under
the knuckles and is in the middle of the
hand.

Each finger has two joints where it
bends, one joint only being given except
in Figs. 8 and 9, the hand in the latter being
placed on the hip, a position much used
in fashions. The fingers are shorter on the
inside. They join the hand on a curve,
but not at the knuckles. Fig. 10 is the
first finger, it differs from the others in
that the first joint is forward of the crease
below it. The thumb joins the hand
slightly back of the knuckles and reaches
almost to the second joint. The bulging
part of the palm shows between the thumb
and the first finger.

Note the direction of the lines of the
thumb, the inner part being a reverse curve,

while the outer part curves in, then takes
a square effect between the curve and the
wrist. The fleshy part of the thumb forms
part of the palm and is about half its
width at the wrist. Double your hand and
see for yourself what curve the thumb takes
on the inside of the palm.

Note how narrow the side view of the
wrist is. Note the break where the hand
joins the wrist, which is more apparent
when the hand is turned over. When
the fingers are doubled or bent, watch the
directions the lines take.

Fig. 11 is the gloved hand, here shown
resting on the chest. Draw the hand and
arm, then place the glove lines, which
extend slightly past the arm line. The
stitching on the back gives the appearance
of a glove, the center line being between the
middle and the next finger. The double
line at the side of the palm and the one at
the side of the finger give the effect of a
heavy glove.

When drawing an arm under a sleeve,
be sure to have the sleeve take the shape
of the arm.

Make a collection of figures (in under-
clothes and in dresses) with the arms in
different positions. Study these care-
fully.

Draw and re -draw the arms on the lesson
plate until you become perfectly familiar
with them/

LESSON XV

CONSTRUCTION OF THE ARM AND HAND IN DIFFERENT POSITIONS

LESSON XVI
THE LEG AND SHOE

THE PROFILE VIEW OF THE LEG

The profile view of the leg forms a re-
verse curve, the lower part being set well
back of the upper. See Figs. 1 and 2.
Fig. 1 is the main outline of the leg, being
sketched in with broken lines, thus obtain-
ing the general shape and proportion.
Fig. 2 is the modeled leg placed on Fig. 1.

In Figs. 1 and 2 note the vertical line
drawn from the upper part to the toes.
This shows how far back to place the lower
portion. The general direction of the front
of the upper portion is out, while the lower
part is in, but on this in, you will see a
slight out, which does not affect the gen-
eral direction of the inward curve. The
back part of the upper portion is in, but
on this also you will see a slight out, which
does not change the general direction.
The lower portion in the back is a decided
out, the calf being a very prominent fea-
ture. The knee projects, yet the general
direction of this projection slopes toward
the back.

Draw Fig. 1, then place Fig. 2 on it care-
fully. Remember that the muscles of the
body form very pretty reverse curves ; you
must have this feeling in mind in order to
obtain the effect. Practice reverse curves
with your pencil, going back and forth over
the lines. Much practice of this kind will
give grace to your work.

THE FRONT VIEW OF THE LEG

The general direction of this view of the
leg is in, and yet at the knee and below
it, the leg takes the outward direction.
The foot also points out. All parts of
the inner side are nearly on a line.

The leg is
muscles,

posed of many intricate
only being mentioned

them

e vastus interims (VI) is on the inside
and is low, while the vastus externus (VE)
is on the outside and is high. The knee
fits between these muscles and the lower
part of the leg.

Study the lower part of the leg, notice
how much higher the outside is than the
inside. At the ankle this is reversed, the
inside ankle being higher than the out-
side.

THE BACK VIEW OF THE LEG

In the back view of the leg the lower part
is back of the upper; see the vertical line.
The foot is partly hidden and is fore-
shortened. Get the direction of all lines
of the foot as it is lost behind the leg.

Draw Fig. 5 and place Fig. 6 on it.

Draw Figs. 1, 3, and 5, noting the cross
lines.

Keep these drawings for reference.
Make other drawings of these figures on
which place Figs. 2, 4, and 6.

SHOES

In the five different positions of the shoe
which are given here, the direction of lines
is the essential point, so the lines are
broken.

When drawing from the chart leave all
breaks, but when making a finished draw-
ing connect the lines.

THE FRONT VIEW OF THE SHOE

On the front view of the shoe note the
direction of the leg, then of the foot as it

STUDENT'S MANUAL OF FASHION DRAWING LESSON XVI

comes toward you, the heel in this view
being lost. The outer curve of the shoe
is longer and more prominent than the
inner. There are three planes on the shoe
which show most distinctly where the vamp
and tip are sewed. The inside ankle is
very prominent while the outside one is
lost.

THE SIDE VIEW OF THE SHOE

Note all breaks and curves on this shoe
and make the heel fit well under the foot.
The top line curves down and the heel is
on a line with the sole.

When drawing a slipper, make it look
dainty and like a slipper, not like a rubber.

THE BACK VIEW OF THE SHOE

In the back view of the shoe the top line
curves up, not down. The foot being
turned away from you, it is foreshortened
and the vamp does not appear as long as
in the other views. Note the line of
direction as , the foot recedes. The leg

breaks into the instep, showing that it is
nearer to you than the instep.

Note the plane at the back of the shoe
and the two planes on the heel. The heel
does not appear as far under the foot as
in the side view.

THE THREE-QUARTER VIEW OF THE SHOE

In the three-quarter view of the shoe
the heel is almost lost. Get the three
planes on the vamp and tip, also the center
line. This shoe is not resting evenly on
the ground, the toe only touching it.
When the shoe is pointing slightly toward
you, the inside of the heel is seen.

When drawing a black shoe, mark with
pencil the place to be inked in, leaving
high lights for the shape of the shoe, at
the edge (except on the dark side) and on
the sole.

NOTE. — The next lesson advises the student to
study books on anatcmy. There are many books on
this subject and from each one the student will leara
something. Do not confine yourself to one book.

Study from these books just how the bones of the
leg fit under the surface. It will be excellent practice.

LESSON XVI

CONSTRUCTION OF THE LEG AND SHOE IN DIFFERENT POSITIONS

LESSON XVII

THE FRONT FIGURE (THREE-QUARTER VIEW)

To draw a good fashion figure the body
must first be placed under the clothes.
The figure given in this lesson is not nude,
but is ready for a corset, underclothes,
bathing suit, dress, suit, or a coat (a coat, of
course not clinging to the figure as closely
as a dress). If the student will draw the
complete figure carefully under every gar-
ment, he will have no trouble when drawing
a bathing figure, or one in underclothes
— although busy artists merely sketch
in the figure without finishing parts that
do not show in the finished drawing. This
is a saving of time for one who knows how.

Remember the lesson on the three-quar-
ter form, Lesson I. See how the dress form
conforms to the shape of the human figure.

Fashion figures vary as style changes,
but the student will do well to make
figures seven (7) to eight (8) heads high.
The figure must be slim and graceful. The
figure may measure the required number of
heads, but is too stout it will not look
right.

Fig. 1 is the way to commence to draw.

It is a rough outline of the proportion,

action, and the placing of the figure on the

paper. Later, when you know how, you

<may use curved lines if you prefer.

Study the proportions given here and
apply them to Fig. 1. After you have
drawn Fig. 1, using broken lines, place
Fig. 2 on it. Remember all instructions
given on heads, arms and legs. If you are
weak on these, review the previous lessons,
as parts poorly drawn will make a poor
whole.

PROPORTIONS OF THE FIGURE

The figure measures seven (7) to eight
(8) heads high.

The neck is about one-third (f ) the width
of the shoulders.

The waist measures less than the shoul-
ders.

The legs join the body at the center of
the figure.

The knees are less than half (J) way
between this point and the feet.

From the shoulder to under the arm is
one-half (5) head or less.

The waist is about one and three-quarter
(If) heads down from the chin.

The arms bend opposite the waist,
reaching down to the center of the figure,
while the hands extend below this point.

The standing line (or line of support) is
an imaginary line from the pit of the neck
to the standing foot. This line must be
parallel with the edge of the paper.

The foot is about the length of the head.

The hand is as long as from the chin
to above the eyebrows.

In this position the standing hip is
high while the other one is low, both of the
hips being above the middle of the figure.

The relaxed leg may be placed any-
where, but must extend from the hip and
not from the knee, which would give it a
knock-kneed appearance. See line of di-
rection for the hips, also sketch of the nude
hips.

If the figure were balanced evenly (on
both feet) the line of support would fall
between the feet. See Lesson XVIII.

The legs must join the body at the cen-
ter and on the center line of the figure.

In the three-quarter view one sees con-
siderably more of one side than of the other.

In fashions there are very few strictly
full front faces, but many are almost
full, being turned slightly.

STUDENT'S MANUAL OF FASHION DRAWING LESSON XVII

The head is often turned in the opposite
direction to the body; this lends grace to
the figure.

When drawing hands, keep them the
same size, also be careful to have the feet
mates.

TO DRAW THE FIGURE

Place the figure nicely on the paper;
commence at the top, and swing in the
correct oval. When this is done, measure
down seven or eight heads to the standing
foot, making a mark where the foot comes.
Remember the standing line must pass
through the ball of the foot. This takes
but little time and can be easily erased
if the figure does not fill the given space
nicely.

If incorrect, begin again by redrawing
the oval the proper size. Do not draw the
features until thp whole figure is swung
in correctly. ,

Mark off the waist line one and three-
quarter heads down, draw the shoulders,
the bust, the standing hip, and one long
line down to the standing foot, which is
on the action side. Keep in mind all
proportions and swing in the figure, using
these spacings as guides.

Much study should be given to anatomy,
so learn all you can of this interesting
subject.

Professionals begin to draw with heavy
lines, but light lines are advised until the
student is fairly sure of his proportions.

PROPORTIONS OF CHILDREN

As children are "little people," no extra
drawings are given, but the student must
remember that their proportions are quite
different from those of adults. So many
scholars say, "Oh, I would just love to
draw children, they are such cute little
things." That is so, but be sure that you
make them cute, and not little old men and
women. A boy has squarer features than

a girl. Children's proportions vary ac-
cording to their ages.

In fashions a tiny baby measures three
(3) heads high; at four years, three and
one-half (85) heads; from six to eight
years, from five (5) to five and one-half
(5 to 5|) heads; from twelve to fourteen
years, six to six and one-half (6 to 65)
heads; at sixteen years from six and one-
half to seven (65 to 7) heads. Their
dresses, being short, help to denote their
ages.

At fourteen the child becomes a young
miss, and takes somewhat the build of a
woman without any apparent bust pro-
jection. The dress is longer, and is still
longer at sixteen years, but never as long
as a woman's.

A child has a round head instead of an
egg-shaped one, the eyes being in the mid-
dle of the head. A tiny baby's eyes may
be placed a little below the middle.

Children have no busts, their eyes are
large and wide-awake, with a peculiar
turn to the upper lid. Their noses are
short and small and their mouths small
and chubby. Their cheeks stick out.
Their hands and arms are chubby as are
also their legs and feet. They wear
square, flat shoes.

When drawing children, give them plenty
of action and make them interested in some
toy, etc.

Children are used for so many purposes
besides fashions, that the student would
do well to devote much tune to them. In
advertisements, cards, book-covers, etc.,
children play a great part. Lesson XXX
deals with this class of work.

By this time the student should know
enough of the outline of the figure to be
able to use books on anatomy to advantage.
Inquire at the library for books on this
subject. Make numerous drawings from
these books, also make drawings of ladies
and children in underclothes, from cata-
logues.

LESSON XVII

THE WHOLE FIGURE READY FOR A COSTUME

LESSON XVIII
TO PLACE A DRESS ON THE FIGURE

ILLUSTRATING A COSTUME

If the student is able to dress up the
dummy form and understands the figure
in the last lessons, he will have no difficulty
in understanding this lesson. This figure
is slightly different from the last one as
it is walking. As the weight is divided
equally between the feet, the line of sup-
port falls between them. The figure may
have the legs crossed in walking and the
weight be solely on one foot. Be careful
to poise the figure correctly.

When drawing a figure with the legs
crossed, do not draw the far foot straight
across the paper; bring it slightly forward.
Try to draw possible positions.

No matter whether you are designing a
costume or illustrating one, the knowledge
required to place it on the figure is the
same.

So far nothing has been said about
original designing. Lessons XXIX and
XXX are devoted to this subject.

An original drawing is one that has been
made by using a picture as a guide and
changing it enough to make it your own.
On this figure may be placed any costume.

An illustration, which is an original
drawing, is placing a given costume, which
has been designed by someone else, on a
suitable figure which will show the costume
to the best advantage.

A house may have one designer who
decides how the gowns are to be made, and
many illustrators who put these designs
on figures ready for reproduction. When
illustrating a costume, you will have
either the gown itself, or a sketch of it,
to work from. In either case pick out

a suitable figure, one that will show the
costume to the best advantage. In the
beginning you will find it hard to render
the costumes from the costumes them-
selves, but if you practice taking one
figure and another dress from the fashion
papers, putting them together under-
standingly, you will easily see how all
principles apply. Pick out the dress first,
then a proper figure on which to place it.
If an evening-dress, find another evening
dress figure in the same position (as nearly
as possible).

For a suit, use a suit figure, etc. Use
the lines of the suit on the figure, as they
fit the figure, and place the given suit on
these lines.

In the dress illustrated the right-hand
should not rest on the hip, which would
cover the design, nor should the left hand
be placed on the chest.

If there is something particularly attrac-
tive under the arm, put the arm up, etc.
When illustrating a costume be careful to
show both sleeves.

Many figures are drawn in a normal
standing position, such as some of the pat-
tern houses use, while some houses require
the "swingy" kind, like the illustrations
in the newspapers or the catchy advertise-
ments. Learn to draw the up and down
figure, then try the swingy kind.

The figure in the illustration is swung
slightly.

When the skirt is swung out as if the
wind were blowing it, the center line and
lines of fullness will also swing.

See how much easier the lines of this
dress are than the ones in Lesson II;
still we have the XX lines, also the X's

LESSON XVIII

TO PLACE A DRESS ON THE FIGURE

and the O's. When a leg is extended,
there are two XX lines near it, but do not
draw them continuous with the leg.
Note how the XX lines fall both ways and
how sometimes X and O run together.
Now that you understand what the lines
mean, you must study carefully the illus-
trations in the fashion papers and copy
the lines of artists.

See Lesson XIX for pen lines and Lesson
XXVI for textures.

If the student practices this lesson
faithfully, applying it on original work,
he will be ready to draw figures on bristol
board, ready for pen and ink. Copy the
lines used by other artists, studying them
carefully.

If the student finds his work is untidy,
he may transfer the drawing to a clean
sheet of paper. This may be accom-
plished by making an accurate tracing
on transparent paper, with a hard pencil.
Place this tracing over the clean sheet in
the same position, fastening it on the board
at the top, only. Take a smooth piece of
paper about five inches by seven inches,
and after rubbing it solidly with a soft
pencil, place it face downward between the
tracing and the fresh paper. Mark over
the lines carefully with a hard pencil.
The tracing paper may be lifted to examine
the work without disturbing its position.
Redraw carefully.

Study illustrations of costumes and see
how others treat their work. Consider-
able dark in a picture looks attractive;
bear this in mind when making a drawing,
but when representing a costume, be accu-
rate. If the costume is all light, place
the dark somewhere else; on the hat,
shoes, parasol, background, etc. When
these darks are attractively distributed
over a drawing, it is called " good spot-
ting." In a layout good spotting holds
the drawing together.

Place all darks so that the eye will be

attracted equally to both sides of the
picture. Keep the sizes and shapes con-
sistent with each other. A large dark
will balance several small ones.

When illustrating a costume, pick out
a figure which will show it to advantage;
one that will tend to induce the cus-
tomer to buy the costume. Three things
must always be kept in mind : good style,
good drawing, and good technique.

Good style is important because if a
costume appears expensive, other poor
points may be forgiven. If you can make
a twenty-dollar suit appear. like a fifty-
dollar one, your services will be in demand.
You will find this easier to accomplish
if you select a stylish figure for your
model.

Good drawing is necessary, for one can
not draw a stylish figure if one does not
know how to render the figure and the
costume correctly.

Good technique in expressing the mate-
rials of the costume is necessary. If the
costume is made of thin material the
fact must be clearly brought out, and simi-
larly if the material is heavy.

Many costumes, whether light or dark,
are illustrated in outline only. If it is
desired to use shading or textures, much
thought should be given. Obtain a good
outline, use the proper lines to denote
the material, then fill in gradually with
lines for shading which accord with the
outline. Fill in gradually, keep the whole
drawing going and do not concentrate
on the shaded places.

The lines for shading should follow the
form and help to mold the figure which
is underneath. Lines placed close to-
gether form a shade. Keep places which
come toward you light; for example, the
bust, line of the leg, top of the arm, etc.
There is usually a dark and a light side to
every drawing, but do not make the figure
so dark in one place that the general build
of the whole will be lost.

Make your people " put on airs."

STUDENT'S MANUAL OF FASHION DRAWING LESSON XVIII

When illustrating a hat, decide on
its most attractive side. Make the hat
expensive looking, even if it is a very cheap
one. Do not stint on ribbons and bows;
make them full and attractive. Hats
should be shaded to bring out the charm-
there must be a light and a dark side.
Represent the material the hat is made of
— whether straw, silk or velvet. Keep
the technique of these, placing lines closer
on the dark side but do not be mechanical.
A " sketchy effect " for a hat is attract-
ive.

Shaded back-grounds, circles and other
shapes, behind hats lend enchantment.

Illustration work cannot be mastered
until the student is further advanced.
This lesson may be referred to from time
time as the student progresses. It is well
in studying to adopt the practice of first
building the outlines, then inking them
in and erasing the pencil lines. The shad-
ing lines may then be placed in pencil and
inked in.

Illustrations are often done in a sketchy
manner, many lines being used. Well
connected lines are advised until the stu-
dent understands the meaning of all lines.

Some houses like sketchy work,, while
others do not.

LESSON XVIII

FITTING A COSTUME ON THE FIGURE

LESSON XIX
PEN AND INK LINES. FRENCH WASH. BEN DAY MACHINE

By this time the student must desire to
ink in a drawing. Ink work is extremely
interesting, but it requires much practice.
You may be able to render a nice drawing
in pencil and be afraid to touch your pen
to it. Many feel this way, and many good
drawings have been spoiled because the
student did not practice the lines on a
separate piece of paper. The very idea
that you are afraid will cause your hand
to be unsteady, and a very steady hand is
required.

The idea is not to draw just an ink line
over the pencil line but to draw the right
kind of a line. Lines should be thick or
thin, straight or wavy, as the nature
of the picture requires. In the first
place a pen line should be made with one
clean-cut stroke and not patched up. A
line should be of even width, unless shad-
ing is called for.

A line should be professional, that is, it
must be the right kind of a line in the right
place, and the artist must know before-
hand, just what he wishes to do. A long,
continuous line may be joined, but when
beginning again, place the pen point back
of the end and do not press on the pen
until the end of the line has been reached.

In this lesson are given some of the lines
used in fashions and the student must
become very familiar with them. When
one can draw these lines well on a separate
paper, he is in condition to ink in his
work. Fine lines should be used for faces,
arms, hands, etc., and very fine lines for
eyelashes. Several fine lines instead of
one wider line give the eye a soft expres-
sion. Study these lines in the fashion
papers.

Use a suitable pen for the work in
hand.

In the shadow, lines are often wider,
as underneath parts that project; as
belts, collars, cuffs, etc. The greater the
projection, the wider the shadow.

Ink lines should be rendered on hard
finished paper, bristol board, plate finish
being the best. Kid finished bristol is
also used. This board will take a wash
of water-color paint. As bristol board is ex-
pensive for practice work, buy a good qual-
ity of shelf paper. This will take the ink,
and on this paper, the student must
practice — practice — PRACTICE — PRAC-
TICE.

Cut out a sheet of bristol board, a little
larger than the chart, and with pencil
copy all lines carefully. In this way you
will become familiar with the lines. Refer
to Lesson I on how to study with a sharp
point.

On your practice paper make two dots
a distance apart, grip your penholder
tightly, fairly near the point, and connect
the dots, keeping the eye in advance of
the pen-point. Do not forget this when
drawing long lines.

Draw slowly, keeping the wrist well
pressed on the board. Draw horizontal,
parallel lines, also vertical ones. Prac-
tice all lines with pen only, using the knowl-
edge gained by drawing them in pencil.
Fill sheets with these lines until you feel
perfectly free and have control over your
pen. When crossing diagonal lines, allow
the first set to dry before crossing them.
Lastly, ink in your drawing of lines
and if the result is satisfactory, you are
ready to ink in a fashion figure.

STUDENT'S MANUAL OF FASHION DRAWING LESSON XIX

THE USE OF LINES

As said before, lines should not be
crowded. If a shaded effect is required,
parts of the lines may touch, but keep the
lines well separated so that the parts not
touching will not run together when re-
produced.

Study all lines in the fashion papers, cut
out examples as you have done for other
lessons. Different artists use different
kinds of lines; become familiar with them
all.

Line 1 is used for trimmings, worsted,
etc. Lines 2 and 4 are used for lace;
lines 3 for feathers; lines 5 for designs and
trimmings; lines 6 for fullness. Practice
with bold strokes. Lines 7 are used for
chiff on— keep the lines fine. Lines 8 and 9
are used for silk — keep lines well spaced,
fitting one cluster into another. Lines 10
are used for hair; lines 11 for crepe; lines
12 for woolen goods — this is done with the
point of the pen; be careful not to make
hooks at the ends of the dots. This is called
stipple and may be scattered all over a
garment which gives a light tone, or the
dots may fall on top of one another, or
be placed close together, which causes a
dark shade. This is an easy way to shade
a drawing.

Spatter work is the spattering of ink all
over the part to be covered. Put a little
ink in a saucer, dip a tooth-brush in it,
and while holding the bristles down, run a
knife over them, of course, covering the
part not to be spattered. Try this out on
a separate piece of paper.

A line may be very fine but must be
black. See method of reproduction, Les-
son XXVIII.

FRENCH WASH

French wash is an outline ink drawing,
rendered on illustration board with flat
washes of gray, lamp black water-color

paint being used. The shadows may be
strengthened by darker tones. This is
difficult to do well, and much practice is
required. Follow directions carefully.

DIRECTIONS FOR FRENCH WASH

Mix the tones of gray in different saucers,
having more color than is needed to go
over a given space. Try the color tones on
a piece of paper, allowing them to dry,
as when dry they will be lighter. If too
dark, add water; if too light, add paint.

Hold the drawing on a slant and, begin-
ning at the top, apply a coat of clear water
all over the parts to be painted. Allow
this to dry. Pick up some paint, having
the brush full of color, begin at the top,
and gently carry the color across the paper,
allowing it to run down as it is carried
across. Never go back or allow the
color to dry; keep the edge wet until the
bottom is reached, then pick up the extra
paint with the dry brush ; wipe on a rag.
A blotting paper is very handy if the color
tries to run below the bottom line

THE BEN DAY MACHINE

Benjamin Day of New York, invented a
machine for placing lines and dots over
given surfaces. This machine will print,
on the drawing, textures, such as diagonals,
squares, dots, etc., wherever it touches
the drawing, thus saving the artist the time
required to draw them. They are more
mechanical then pen lines and often
much closer together. All the artist is
obliged to do is to rub with a blue pencil
or apply a coat of Cobalt blue water-
color paint to the part of the drawing on
which he wishes this machine applied.
Blue will not show in the reproduction.

Cut out illustrations of Ben Day and
do not confuse it with French wash,
stipple or spatter work.

LESSON XIX • A 71

PEN AND INK LINES

LESSON XX
FEATHERS AND HATS

In this lesson few lines are used, the
object being to explain the general direc-
tion the lines take.

To draw a full feather, many more lines
should be added. The student should
make a careful study of all drawings of
feathers, also of the feathers themselves.
The mass of small feathers to make up the
whole are confusing, but when one realizes
that it is the direction that is important,
a few lines of the right kind will give the
desired effect.

If the feather is soft like those of the
ostrich (Feather No. 1), it must be drawn
with curvy lines, the ends of the lines form-
ing the edge of the feather. They curl
under. The vein is often prominent.
When drawing a black feather, obtain the
direction as in the lesson plate, ink it,
leaving the direction white.

Draw the hat with the wings. Note
how the feathers in the wings fit behind
each other, some lines being drawn full
length while others fall short. The hat
shows a plane on the side, and one in front.
When making a finished drawing, the
planes are not apparent. See the lines
of direction below the hat.

This hat has a high crown. Mark the
center, curve the lines to be inked around
the center in the direction of the hat, leav-
ing high lights where the hat turns the
corner.

Draw Feather No. 2. See how the vein
is lost at the top where the feather turns
over, and how the small feathers take
sharp turns. Feather No. 3 is a paradise
feather. Study the direction of the lines.
Note how fine they are and how some are
long, some short, the lines fitting between

each other. At the bottom they fit more
closely together and take a slight reverse
curve. Feather No. 5 is a feather which
turns over at the top. Note the line of
light where the feather turns and
the little feathers which show at the
edges.

Draw the ostrich feather, boa and tas-
sels.

Feather No. 6 separates at the top,
being in two parts. At the bottom one
side only of the second part is seen.

Draw the pompon. The short lines
curve around the edge and form the circle,
only a few lines being drawn within its
border on the dark side. The center,
being left light, gives the ball shape.

Study the straw hat with high crown,
and turn-up brim. Note the three planes
to fit the head. See how the straw fits
around the high crown and brim and how
the cross lines of the straw are indicated on
the dark side. They take the direction
of the curve of the hat.

A flat, round crown forms an ellipse.
When a hat is viewed from above, one
sees much of the brim and crown. This
hat is bound on the edge. Where the brim
turns up, the width of the binding is lost.
The band follows the crown.

As said before in Lesson XIII, the hat
must be so placed on the head as to give
a stylish effect. Refer to this lesson when
drawing hats. When drawing a hat, have
some decided turns on it, not points
exactly, but a change of direction which
will keep the hat from looking like a tin
pan. When drawing a black hat, be sure
to have white lines separating its parts.
A hat made solid black will look larger than

STUDENT'S MANUAL OF FASHION DRAWING LESSON XX

when outlined, as the line of the edge be-
comes part of the hat. A hard, shiny sur-
face, like beaver, will show a decided high
light in a given place. This high light
takes the shape of the hat. Study care-
fully the way other artists treat hats and

feathers. When placing a hat on another interesting.

head, use one facing the same way. Use a
profile hat for a profile head, etc. You
can use any picture facing the other way
by reversing it in a looking glass.

If you succeeded with the lesson on pen
and ink, to ink in these feathers will be very

LESSON XX

CONSTRUCTION LINES FOR HATS AND FEATHERS

LESSON XXI
PARASOLS

Parasols are very interesting and they
are not hard to draw if one understands
their formation.

Begin with Fig. 1. Place the stick
through the ellipse at a right angle to it.
The stick must be in the middle and be
continuous where it goes through the
silk.

If you show much of the outside, show
but little of the inner part. The less you
observe of the top of the parasol, the more
you see of the inside, Fig. 4, and the less
of the short end of the stick.

Draw layout, Fig. 1, and place Fig. 2
on it.

Draw layout, Fig. 1, and place Fig. 3
on it.

In Fig. 3 part of the ruffle on the far side
is hidden.

In the Japanese parasol, you view the
inside. The stick must go through the
middle and the ribs must curve to form
the hollow of the parasol. They extend
past the edge. This parasol does not take

a perfect round, it being viewed on a slant.
The stick must rest on the shoulder and
fit in the hand. The stick may be ruled
to obtain a straight line.

Fig. 5 shows where the ribs join the
center and the supports from the stick
to the ribs.

Fig. 7 is the outside only. Note the
center and how the ribs curve, vanishing
on the far side, and extending past the edge
on the near side. Study the parasol care-
fully, and notice how the curve of the
far side is less than the curve of the near
side.

Draw the closed parasol. Make it
slim. See how the openings fall.

Draw the layout, place the loops on it,
then the ends of the ribs which form a circle
around the stick.

The upper part of the stick is usually
less than the silk part.

An open parasol resting on the ground
is bound to show the inside.

The average parasol has eight ribs.

LESSON XXI

CONSTRUCTION OF THE PARASOL IN DIFFERENT POSITIONS

LESSON XXII
FURS AND FANS

The student must learn to dress his figure
warmly for winter and to convey the effect
of coolness, for summer; so we have two
extremes, furs and fans.

There are many kinds of furs; a cata-
logue on the subject will give the different
kind of technique, or lines used to repre-
sent the texture of the article.

If the fur has long hairs, use long lines;
if curly, use curly ones. The long or
curly lines may be massed in places to form
the shadows or indications of the fur.
Fur should look full and the lines must
follow the shape of the fur piece.

Follow the lines for the neck piece, Fig. 1.

The lines for the fur fall down towards
the front, while on the shoulder they go
toward the back.

Draw the main shape of Figs. 1 and 2,
then the lines for the fur, which form the
edge. Make the fur look full, especially
so at the tails, Fig. 2.

Fur trimming which is joined in the mid-
dle causes the fur to fall both up and down.
Note the different direction of lines where
the fur is joined. Make the fur full at
the edges and where it wraps around
XX, Fig. 3.

Short fur is drawn with short lines,
Fig. 4, the thickness of the fur extending
past XX.

Draw the round muff. See how the
lines follow around the muff and give it
shape. There is a plane at the end (which
is flat) with a round hole in the middle,
but the end takes the shape of an ellipse,
as it is viewed in perspective. See Lesson
XXVII on perspective. The hole is nearer
the far side.

Watch the lines carefully as they go
around the muff and around the hole.

In the flat muff the lines follow the form.
As the muff is flat, the lines are straighter
and the plane at the end is narrow. Note
the lines as they go around the muff and
around the hole.

For. all fur obtain a good outline first
on which place the correct lines.

FANS

All sticks for a fan must meet in one
point, which is in the hand.

Draw the end sticks making them meet,
the top of the fan, the middle stick, and
the one half-way between it and the end
sticks. These divisions may be divided
and sub-divided. Sticks are often drawn
with a double line.

A fan partly open will take the lines
of the plaits on a skirt. In this position
the middle sticks are hidden where they
join the center.

On these foundations any kind of a fan
may be created. If the shape at the top is
different from this set curve, draw it so,
but remember the principles stated.

Feather fans are very popular in fashions.

The student should make a large collec-
tion of pictures of furs during the winter,
as he may wish to use them in summer
for the following season.

Try placing a fur texture all over a coat.
For this a good copy is needed.

Remember black fur will have white
lines. A white fur against a black back-
ground is very effective.

LESSON XXII

1 1 v '

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THE GEHERAL DIRECTION OF LINES FOR FURS AND FANS

LESSON XXIII
THE BACK FIGURE

If the student has been successful with
the front figure and remembers its pro-
portions and how to start the drawing, he
will be somewhat at home when studying
this lesson. As in Lesson XVII, the
figure is not nude but ready for a garment,
as are also the figures in Lesson XXIV
and Lesson XXV.

Draw Fig. 1 and place Fig. 2 on it.
This is a three-quarter back view, the
figure measuring seven and three-quarter
heads high.

In the back figure, the legs join the body
below the middle and the waist-line
curves up, not down. The head is a three-
quarter batk view, although a profile or
seven-eighths front head may be placed
on this body. Do not turn the head too
far around to the front. Try turning
your own head toward your back, and do
not make the mistake of putting an almost
full face on a back figure.

Note the hair lines, which are brushed
up to the top of the head. The ends of
these lines in the back form a curved up
line like the back collar line.

In this view of the head, the ear is nearer
the front, and the line for the neck
breaks into the face, as it is on this side
of it.

The trapezius muscle breaks into the
neck, showing that the face and throat
are forward, the throat being lost some-
what.

The far shoulder is longer and is more
sloping than the near one.

The center line of the body takes two
reverse curves; beginning at the neck it
curves in, then out for the shoulders, in
again for the waist, out again over the
hips and buttock, in again to where the
legs join the body.

Study the little sketch of the nude back
and of the trapezius muscle as it fits on
the back of the head.

Do not curve the center line too much for
the fashion figure. See how the bust goes
around to the front as also do the arms.

Use previous instructions when drawing
the legs and feet.

When placing a dress on this figure,
have the lines of the dress conform to the
action of the figure as in Lesson XVIII.

When the arm is bent and extended for-
ward, the break of the sleeve at the supina-
tor longus takes the opposite direction from
the front view, showing that the upper part
of the arm is on this side of the lower.
The lower portion of the arm is foreshort-
ened.

When illustrating the back of a costume,
use a back figure going the same way as
the costume sketch to be illustrated. See
Lesson II on the back form.

Draw back figures in corsets and in

underclothes. These are harder to find

than front figures. Keep everything that

will help you, even upper and lower parts

of figures.

Compare several back figures. See if
you can combine them in one drawing.
Always use figures facing the same way.

LESSON XXIII

THE BACK FIGURE READY FOR A COSTUME

LESSON XXIV
THE SIDE FIGURE

The side figure is not as frequent in
fashions as the front view, as it does not
show a costume in all its parts. However,
it is graceful and artistic, and the student
should be as familiar with it as with the
front view.

This figure measures seven and three-
quarter heads high.

The side view is inclined to look some-
what taller than it is, the side of the body
being narrower than the front.

If the student can draw a graceful figure
in all positions, he can use the knowledge
gained in decorative work, such as cards,
book covers and advertisements. See Les-
son XXX.

Keep in mind all points regarding the
profile leg. As the inner view of the pro-
file leg is slightly different from the outer,
sketches are given here of the straight
and bent knee.

As this figure is ready for a corset, note
the long straight line in front, and the long
curved line in the back, which does not
show where the legs join the body. See
the separate sketch of this.

Be sure to show the plane on the shoulder,
which is distinct from the arm.

See the clavicle in the first drawing,
which extends from the pit of the neck to
where the arm begins.

When the arm is extended forward, note
the square effect on the back, caused by
the shoulder blades. This is also notice-
able when the arm hangs straight
down.

The body may bend at the waist for-
ward and side-ways, but in fashions, we
keep the figure erect, with the head on an
upward turn, unless the figure is interested
in some object and is inclined to bend
the head downward. In this case the
eyes must be lowered as well.

Refer to Lesson XVII for proportions
of the figure.

If the features of a figure are not clearly
defined, use other features, but be sure
they belong to a head in the same position.

It is better to find a satisfactory figure
from which to draw, but the student may
combine parts' of different figures if he
understands their construction.

LESSON XXIV

THE SIDE FIGURE READY FOR A COSTUME

LESSON XXV
THE SITTING FIGURE

As the figure in this lesson is sitting,
the horizontal part, which is resting on the
bench, is lost in the height of the
figure.

The legs join the body in the middle of
the figure, but not in the middle of the
drawing.

Let us divide the drawing into three
equal parts. From the head to below the
bust is one, to where the body bends is
two, to the bottom of the foot is three.

Remember the figure bends where it
sits and again at the knees, the leg flat-
tening out slightly where it rests on the
bench.

Do not draw the near side of the bench
close to the under side of the knees.

Try sitting on a chair, observing how
your knees extend past the edge. It is
possible to sit far back, but one seldom
does.

Study the sketch of the outside bent
knee, the inside one being illustrated in
the last lesson.

Draw the far leg through the near one as
indicated by the dotted lines.

A figure may sit or recline quite differ-
ently from this, so draw sitting figures in

all positions. A sitting figure may be
bent more than a standing one.

Draw the sitting figure in underclothes
and in dresses. Study the lines of the
dress, how they fit around the figure, fall
from the edge of the bench and from the
knees. Study the lines of the main
wrinkles. Study the wrinkles in the bent
arm which are mostly on the inside. On
the extended arm they pull as the arm is
thrust out.

An arm will show the inside of the sleeve
at the wrist, unless the arm is turned
back, as the arm placed behind this figure.
Bear this in mind when placing cuffs on
sleeves.

The far armhole forms a reverse curve,
the lines for the bust extending to the
center of it.

As under the arm is on a different plane
from the front of the body it is often
shaded.

It is suggested that when a wide line
is placed around a careful drawing, all of
the heavy line be allowed to be on the out-
side of the pencil line. If brought within
its border, the shape will be destroyed.
Note for example, a carefully drawn arm.

LESSON XXV

THE SITTING FIGURE READY FOR A COSTUME

LESSON XXVI
TEXTURES AND DETAIL WORK

The representation of textures comes
under the general classification of detail
work. It requires great accuracy to be
a detail artist. Many artists devote their
whole time to this type of work.

To draw the human figure correctly,
and to be able to group figures, should be
the aim of all students of fashion drawing;
but they should be competent to do detail
work as well. When filling an order in
all its parts, the artist needs to be familiar
with textures. He must be able to make
the drawing for a silk dress convey the
impression of silk, etc.

The student of this lesson needs first
to be able to render good ink lines. Then
study textures carefully from catalogues,
and from the goods themselves. Consult
the lists of materials given at the end of
the lesson. If you are not conversant
with them all, examine them in the stores
or obtain samples.

To form a texture, the lines of the draw-
ing must take the form of the weave,
and the whole mass of lines must follow
the form on which the texture is placed.
Review Lesson VIII, as you must have a
good foundation on which to place the
lines. For example, when drawing a
basket, the lines take the shape of the
straw, and also of the basket, the imagina-
tion does the rest. The same kind of lines
might be used for a worsted sweater, and
if placed on a nicely drawn sweater, we
recognize the material.

Be careful of the outline and have a good
foundation of stripes or plaids on which to
place the texture, unless the texture has no
noticeable direction of line.

Study the eight examples given of flat

pieces of materials. Fig. 1 is chinchilla,
2 and 3 are crochet or knitted worsted,
4 is corduroy; a flat piece would not be
shaded but on the figure the shading helps
the form, Fig. 5 is outing flannel or cotton
goods, 6 is rough cloth; if very rough,
allow the rough edges to form the edge of
the garment. Fig. 7 is moire silk, 8 is
dimity or swiss; use fine lines for thin
goods, very fine lines for chiffon. Fig. 9
is lace, 10 is embroidery; work out the
pattern carefully, placing a shadow under
each design.

Criss-cross the mesh in either squares or
diamonds. Do not make the mesh round.

Much detail work is worked out in white
water-color paint, used thick from a jar.
This is applied with a fine sable hair
brush. All wash drawings have the lace
and embroidery worked out this way,
a flat tone of gray paint being first applied
as a background for the lace. Always
allow this to dry before applying the
white paint.

Fig. 11 represents black silk. Draw
the outline of all parts to be inked in,
leafing high lights on top of XX. The
solid ink parts fit into each other in a sori
of lighting effect.

Fig. 14 is part of a light silk skirt,
Fig. 13 is dark silk; another kind of stroke
which gives a very pretty silk effect.
Fig. 12 is a loose sketchy way of placing
net all over a skirt, the lines of the net being
more apparent in the shadows. For white
lace, rendered in white paint, this order
is reversed. For catalogues this would
not be accurate enough, as the customer
has only the picture to order from.

Study carefully the pen lines of artists,

STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVI

and try to reproduce the same kind of
lines. If you do not succeed in this, take a
sheet of tracing paper and trace their lines
with pen and ink. Make a line clean cut
as instructed in Lesson XIX.

LIST OF COSTUME MATERIALS

Silk. Brocade bengaline, chiffon, chif-
fon taffeta, China silk, charmeuse, crepe
de Chine, crepe meteor, crepe duchesse
meteor, crepe chiffon, Dresden silk, Dres-
den chiffon, faille, foulard, georgette crepe,
gros de Londres, grosgrain, imperial dress
satin, Japanese silk, Japanese habutai,
khaki, mull, moire, mousseline, marquis-
ette, grenadine, military striped silk, Melba
silk, moire velour, ottoman, pussy twill,
pongee, punjab, pompadour striped silk,
satin majestic, silk poplin, Shantung, taf-
feta, tussah silk, velour, velvet.

Cotton. Batiste, cordeline, chambray,
corduroy, crash, crepe, cretonne, Canton

flannel, Cossack linen, Dresden voile,
Devonshire cloth, English flannel, flaxon,
galatea, honey-comb cloth, khaki, lawn,
linen, linene, madras, needle cloth, nain-
sook, organdie, outing flannel, pique1,
percale, poplin, repp, ramie linen, Russian
cord, sateen, seersucker, voile, velveteen,
Venetian linen.

Wool. Albatross, alpaca, beige, broad-
cloth, prunella, Bolivia cloth, cashmere,
camel hair cheviot, chinchilla, chiffon
cloth, duvetyn, jersey cloth, flannel, Hen-
rietta cloth, mohair, melton, nun's veil-
ing, Palm Beach cloth, poplin, Rugby
cloth, Russian cord, serge, stockinette
tweed, terry cloth, tartan serge, voile,
voile de soie, velour de laine.

Lace. Cluny, Chantilly, craquela, duch-
ess, filet, gold lame tissue, gold brocade,
Irish point, metal lace net, point d'esprit,
radium lace, shadow lace, Valenciennes,
point de Venise, rose point, point d'Alen-
gon, Brussels point d'Argentan, Angle-
terre, Limerick.

LESSON XXVI

!&&$?&

COSTDME MATERIALS

LESSON XXVII
PERSPECTIVE

It is very important for the student to
understand something about perspective
in order to be able to place chairs, tables,
etc., in his drawings; rugs and squares on
floors must be drawn according to rule.
A few simple rules are here given to aid
the student in the perspective needed in
fashion drawing. Study these rules care-
fully and apply them when copying
pictures.

When copying the chart, draw in large
enough scale to enable you to work well;
these illustrations are very small. Be
very accurate as every fraction of an inch
will tell. Use a ruler on all straight lines
and a compass for circles.

There are two kinds of perspective,
parallel (or one point) perspective, and
angular (or two point) perspective.

The horizon (H) is an imaginary horizon-
tal line, where earth and sky seem to
meet; it is high or low according to the
elevation of the observer.

Example. A person on a mountain can view more of
the surrounding country than if he were on the level,
hence the horizon will be high as it is directly on a line
with his eyes.

Place your pencil across your eyes, if
you can see just over the top you have
the horizon line.

The point of sight (PS) is an imaginary
point on the horizon directly in front of
the eyes. The direction of vision is an
imaginary line from the eye to the point of
sight.

The picture plane is a vertical plane on
which the picture is drawn.

The ground plane is the plane on which
the observer stands.

The place he stands (S) is called the

station point, Fig. 3. This is the eye of
the observer.

The picture plane is perpendicular to
the ground plane.

Example. Place a large plane of glass perpendicular
to the ground. Place a cube on the other side a little
way back. Keep the eye steady and trace on the glass
the outline of the cube. If this is done accurately,
you will have a picture of the cube in perspective.
Close one eye while doing this.

All parallel lines which run directly
away from the observer are called conver-
ging lines. Converging lines which are
perpendicular to the picture plane vanish
in the point of sight. (Fig. 1) and (Fig. 5
3ft.)

Converging lines which are not per-
pendicular to the picture plane but run
obliquely away from the observer, vanish
in a point on the horizon, but not in the
point of sight. (Fig. 5 (2 ft.))

The prime vertical (PV) is a vertical
line drawn perpendicular to the horizon.
It passes through the point of sight and
through the station point. (Fig. 3.)

Study Fig. 3. H is the horizon, PS is
the point of sight, S is the station point.
Place the station point at a distance of
H the diagonal of the picture plane.
PV is the prime vertical, abed is the pic-
ture plane.

D and D' are distance points, or as far
as the observer can see on each side of the
point of sight. From PS to D equals
from PS to S. D2 is one-half this dis-
tance; its use will be explained later.

Study Fig. 5. Find H and PS.

When wishing to represent objects by
measurement, a measuring scale can be
used in the foreground. This measuring

STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVII

scale should be the actual measurement in
feet and inches. As objects recede, they
appear smaller, just how much smaller can
be determined by using this scale.

In Fig. 5 let us call the spaces in the
foreground feet. If a six-foot post were
placed close to the (glass) picture plane
(on the other side), it would appear six
feet, or life size; if placed farther back it
would look smaller. See the posts.

To place a six-foot post a distance back,
count off three feet on the scale, connect
the ends with PS. Any horizontal line
(parallel to the picture plane) between these
lines will equal three feet. The farther
back the shorter three feet will appear.

Take the three feet in the distance,
double it and stand it up on the three-
foot line. This makes six feet in the dis-
tance; or take the six-foot measure on
the scale, find six feet on the ground in the
distance, then stand it up.

PARALLEL PERSPECTIVE

An object is in parallel perspective when
one of its sides is parallel with the picture
plane, Fig. 1.

Draw the picture plane, the horizon,
the point of sight. Draw the fronts of
the blocks, then the converging lines, then
the backs of the blocks. Place the rug
on the floor, using the same rule.

The block at the left of the point of
sight exposes its right side. The block
at the right exposes its left side. The block
in the center has both sides hidden.

Remember a block, chair, table or any
object lower than the level of the eye will
show the top, so all converging lines will
run up to the point of sight.

Objects higher than the level of the eye
will extend higher than the horizon, and
all converging lines above the eye will run
down to the point of sight. (Fig. 6.) The
relation of the object to the horizon deter-
mines the size of the object. When draw-

ing children, make a high horizon, this will
make them look small.

If an entire object is above the level of
the eye, you see its under part. A plane
on a level with the eye has the appear-
ance of a line. If below the eye, it exposes
its upper part. If above the eye, it
exposes the under part. The higher or
lower a plane is placed, the more one
can see of its under or upper surface. A
plane at a distance loses in depth.

Fig. 2 is a room in parallel perspective.
Find H, PS, and the converging lines.
Study the lines of the bureau which is
built in the form of a block. The top of
the bureau is below the eye and the top of
the back above the eye.

Build all furniture away Irom the wall
from the floor up. Note the lines for the
beginning of a table. The floor lines con-
verge (up) to PS. The ceiling lines con-
verge (down) to PS. When drawing
bureaus, chairs, etc., the student is inclined
to show too much of the top planes.
Fig. 4 shows how to obtain the correct
measurement. ^

First study Fig. 3. Draw picture plane,
horizon, point of sight, prime vertical,
station points and distance points. As the
paper is rarely large enough to draw DSD',
we use one-half the distance (D') and
one-half the measurements on the measur-
ing scale.

We are to decide how much to show of
the seat of the chair, Fig. 4. A is the
length of a horizontal line in perspective;
to obtain the same length on the converging
line draw the broken line (auxiliary line)
from the end of A equal to one-half the
measurement of A. Draw a dotted line
from the end of the auxiliary to D';
this will cut the converging line the cor-
rect length or so that a=A. Use whole
measurement and dotted line to D or
half measurement and dotted line to
D2.

To cut the converging line coming for-
ward from A, connect the end of the

LESSON XXVII

PERSPECTIVE

auxiliary with the opposite D2. This
makes A=a=aa, Fig. 4.

Lines drawn from both ends of the
auxiliary to the picture plane will give one-
half measurement of A, or on the measur-
ing scale, the actual size in feet or inches.
This rule will be very helpful when
drawing windows and doors which open
toward you.

One picture I saw will explain the use-
fulness of this rule. The window was
divided into two parts, being on hinges.
These opened toward me, the mistake
being that one part was large enough
to cover the whole window when
closed.

Use this rule to ascertain the length of
the converging lines of the chair, Fig. 4,
and the table and bureau, Fig. 2.

To obtain the depth of the window, drop
lines to the floor converging line.

Place the rungs of the chair according
to rule.

The back of the chair slants back
slightly. Parallel oblique lines in the air
converge to the same point on the prime
vertical. In this case they meet below
the horizon. If the slant were in the
opposite direction, they would meet above
the horizon. Obtain the slant of one side
of the back, then draw the other side to the
same point.

Study Figs. 6 and 7, which show how
a circle or an oval can be drawn in
perspective. Draw a circle in full view,
enclose with a square, cross the square
from corner to corner up and down and
across through the center, and again up
and down and across where the circle
meets the cross lines. Continue these
cross lines to PS. Place the circle at the
junction of these lines on the converging
square, Fig. 7; this will give you a vertical
ellipse (or a circle in perspective).

A horizontal circle in perspective may be
obtained by filling the top converging
plane with the same kind of lines. This
rule will help you when drawing oval

mirrors, children's hooples, curves on
furniture, etc.

Draw an oval mirror on the bureau in
Fig. 2. Draw a basket in Fig. 8.

ANGULAR PERSPECTIVE

An object is an angular perspective
when neither side is parallel with the
picture plane. In Fig. 9 we have a box
in angular perspective.

Draw picture plane, horizon, point of
sight, prime vertical and station point,
also distance points the same as you did
in parallel perspective. The measuring
scale in the foreground may also be used
but instead of using D and D' use M
and M'.

You will note that this station is not
If the diagonal of the picture plane.

Remember, when neither side of the
object is parallel to the picture plane, both
sides are on the slant.

To draw the cube, draw the height, and
one vanishing line to the horizon; where
it touches the horizon we call V or vanish-
ing point. You may place this line on any
slant. When drawing from a real cube,
hold your pencil along the line and get
the direction this way. Remember, if the
near edge of the cube is on the prime
vertical at an angle of 45°, you see as
much of one side of the cube as you do of
the other. Both sides will vanish at
equal angles and the vanishing points
will fall on D and D', but the minute
you move the cube at another angle or
change its position to the right or left,
the vanishing points will change. So in a
room, different objects have different
vanishing points while objects in parallel
perspective all vanish in the point of sight.

This cube is to the right PS. You see
more of the one side than you do of the
other, the vanishing line will fall elsewhere
on the horizon. The greater the slant of
one side the more gentle the slant of the
other, the vanishing point on the side with

STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVII

the greater slant will be nearer PS than
the other vanishing point.

You know the angle of the object is really
a right angle, so after finding one vanish-
ing point V, draw the line from V to S
(or station point), and at the station con-
struct a right angle. Continue this line
to the horizon, which will give V or the
other vanishing point.

You know that parallel oblique lines
vanish in the same point, so the parallel
sides of the cube vanish in the same points.
How much of the side is seen we deter-
mine by M and M' instead of D and D'.

Using a compass and with V as a center
and VS as a radius, mark off the horizon M.
With V as a center and V'S as a radius,
mark off the horizon M'. These points
are used as D and D' in parallel perspec-
tive.

Draw the auxiliary lines the same length
as the height of the cube, then the dotted
line to M and M'. The parallel sides of
the cube vanish to the same points. Carry
measuring lines forward to obtain the size
on the scale.

Fig. 10 is an angular view of a room;
it is like the inside of a large box.

Draw the picture plane, horizon, point

of sight, prime vertical, station point,
distance points and measuring points
as in Fig. 9. The lines of the ceiling
come down to V and V. One vanishing
point is not on the paper, so slip another
paper under your drawing, extend the
horizon and continue the converging lines
to the vanishing point.

The lines of the door follow the wall.
The lines of the seat follow the other wall,
and therefore the vanishing points for
walls, door and seat are the same.

A room in parallel perspective may con-
tain objects which are in parallel perspec-
tive and objects which are in angular
perspective. If several objects in a room
are at different angles, each one has its
own vanishing and measuring points, while
the converging lines of the parallel objects
vanish in the point of sight, the same as
the lines of the room. A room in angular
perspective may contain objects at the
same angle and objects at different angles
and objects in parallel perspective.

Cut out a picture of a room with furni-
ture hi angular and parallel perspective,
paste the cut-out on paper, and extend
two converging lines; where they meet
will be the horizon.

PERSPECTIVE FOR FASHION DRAWING

LESSON XXVIII
LAYOUTS FOR NEWSPAPERS AND CATALOGUES

By this time the student should have
learned to draw the fashion figure in the
front, back, side and sitting positions.
He should have learned to sketch a gar-
ment from the model, and to place it on
the figure. He should have learned also
how to ink a drawing using the proper tech-
nique. To draw four or five figures may
seem an undertaking and if one feels that
he is slow in drawing one figure, he should
keep on practicing until he can place one
figure in, fairly quickly, that is getting the
action and proportion without much dif-
ficulty.

A layout artist is one who draws the
figures and their costumes, in a given
space. Where many different articles of
clothing, as hats, waists, corsets, dresses,
etc., must be advertised, many business
houses employ a staff of artists on the
work, each artist doing the class of work
that he is most proficient in. In such
cases one drawing may pass through
many hands before it reaches completion.
The layout artist begins the drawing,
another artist inks or paints the costumes,
another the heads, and another the detail
work, etc. Wash drawings in black and
white and in water color are done in these
houses, and while this book does not take
up wash work, the student of this book
might become one of the artists to make the
layouts for these wash drawings.

Taking it for granted that the student
is to fill an order in all its parts, bear in
mind the rule for enlargement.

The size of the plate is very important,
it being the size of the picture when
finished.

It should be interesting as well as help-

ful for the student to go through an
engraving plant. As this may be impos-
sible, a brief account of the photo-engraving
process, by which line pictures are re-
produced, is here given.

The drawing is first photographed,
usually to a reduced scale, and brought
down to a size much smaller than the
original. In this case all lines and dots
will be reduced in size, and also the spaces
between them. The photographic film
is then toughened by a solution, stripped
from the glass, turned, and placed over
another sheet of glass with the positive
side up. The glass plate carrying the
turned negative is placed in a frame over
a sensitized zinc plate and placed in the
sun or under a powerful electric light.
As the photograph is a negative, the lines
of the drawing are transparent and the
light shines through on the zinc plate,
hardening it under the lines only. The
part protected by the black portion of
the film remains hi its natural condi-
tion.

The plate is then inked and afterward
washed. The hardened part, only, retains
the ink, thus leaving a copy of the drawing
on the plate. A fine powder (dragon's
blood) is sprinkled on the plate, and adheres
to the ink parts only, thus protecting the
lines. The back of the plate is protected
by a coating of asphalt varnish.

The plate is given several " bites " in
acid, which eats away the surface not
protected. As the bite eats sideways
as well as down, the plate is sprinkled sev-
eral times, with the powder, during the
biting process. The " bite " eats between
lines and dots, leaving the image in relief

STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVIII

on the plate. From this relief the drawing
may be printed.

A drawing which is to be reduced by the
photo-engraving process must be large
enough so that the lines may be clean cut
and distinct. If there is much detail,
there must be room enough for careful
drawing. Lines that are crowded will
run together when reduced.

On the other hand a drawing, if made
too large, will lose in value when reduced.

As a rule the original drawing is larger
than the plate, although it may be the
same size or even smaller. In the latter
case it will be enlarged when reproduced.

THE METHOD OF ENLARGEMENT

Where drawings are to be made for re-
production by printing, the customer will
give the artist the size of the plate which
will be the size of the picture when repro-
duced. The artist leaves a margin on the
left-hand side and at the bottom of his
paper. He then draws the exact size of the
plate in the lower left-hand corner and a
diagonal line through the opposite cor-
ners, extending it indefinitely. (See Figs.
1 and 3.) Fig. R is the size of the plate.
The plate is to contain one figure.

Extend the line b far enough to give
a good height to draw the figure. Draw
c to the diagonal line. Draw d from where
c touches this line, to a. When reduced,
the rectangle a, b, c, d will be in the same
proportion as Fig. R. Any horizontal and
vertical line meeting on the diagonal will
mark off the same proportion.

The proper size space having been deter-
mined, fill in this space with one figure
as in Fig. 2. The customer is paying so
much for every square inch of metal plate,
consequently, he does not wish to waste
space; make the figure touch the edges
of the plate on all sides.

Fig. 3 is the beginning of a layout for
three figures. Fig. 4 is the way to space
the figure. Fig. 5 is the way to place the
figures.

Fig. 2 is a suit layout; other layouts
(for hats, waists, underclothes, etc.) are
enlarged in the same way. Leave at least
one inch margin, draw the size of the plate,
enlarge it, then place as many ovals as
there are to be figures. Place all ovals
before drawing the figures.

When arranging several figures, make a
variety of positions of heads, and a variety
of positions of feet. Make the figures
express interest in each other. News-
papers and some business houses require
" swingy " figures with plenty of dash and
" go." Many pattern houses are more
conservative and like the figures more
normal. Some houses have the figures
drawn on separate papers. These they
cut out and paste on a large sheet of paper
in an arrangement to suit themselves.
In this case they give the artist the height
of the figures to be drawn.

If one figure is supposed to be at a little
distance back of the others, follow the
rules of perspective and make the far
figure smaller. Keep the figures in the
foreground the same size.

Fig. 6 is a catalogue, underclothes layout.
This layout calls for two figures and nine
garments.

Keep the space well covered and the
separate garments the size of the ones on
the figures. The place at the upper
right-hand corner is left for printing.
It is called mortice. A figure or garment
may slightly overlap the edge of the space
for printing. Odd spaces may be filled in
with backgrounds, such as tables, vases,
mirrors, etc., or out-of-door views. See
Lesson XXVII on Perspective.

Do not draw back figures unless your
employer wishes the backs of garments
illustrated.

LESSON XXVIII

METHOD OF ENLARGING LAYOUTS FOR NEWSPAPERS AND CATALOGUES

LESSON XXIX
ORIGINAL DRESS DESIGNING

Costume design is a very interesting
subject and is an art in itself. If one can
draw fashions correctly, he can learn to
create them.

Study this lesson carefully and apply
its principles on original work. Keep a
note-book handy in which jot down ideas
as they present themselves.

The student should also read and study
the fashion papers. He must become
familiar with the names of principal de-
signers and their work, as for example:

Callot, Jenny, Che>uit, Lavin, Paquin,
Poiret, Drecoll, Premet, Redfern, Doeiul-
let, Bulloz, Soulie, Douchet, Worth, Beer,
Armand, Revillion, Renard, Reboux,
Chanel, Callot, Soeurs, Monge, Lacroix,
Halle'e, Talbot, Erte, Leon Bakst, Geor-
gette, Lady Duff Gordon, (Lucile), etc.

He must visit the openings and French
shops. The newspapers send artists to
these shops to sketch the latest designs
for their papers. Ideas for new designs
may be taken from many things in which
one not versed in this art would never
dream that they existed.

The very first thing to know is what
are the prevailing styles. A design must
be simple and have good lines. Long
lines running up and down tend to make a
stout person look more slender, while lines
running around the figure lend breadth
to the slim figure. Long lines from the
shoulders down are good, but these may be
broken at intervals without destroying
the long line effect.

One great thing to be considered in
costume designing is proper proportions.
Have all proportions interesting. Do not
divide up spaces into mechanical divisions.

For example, if you want to place very
small tucks up and down on a waist, do
not make the tucks the same size as the
spaces between them, or any mechanical
division of the same. This rule applies
to cluster of tucks and to the space be-
tween the clusters.

Do not open a V neck one-quarter, one-
half or one-third way down the front.
Consider the proportion of cuffs to other
dimensions, also of the size of the pockets
to the distance down from the belt, length
of over-skirt to under-skirt, etc.

Study Fig. 1. Note where the lines are
omitted as indicated by dots. In Fig. A,
lines 1 and 2 are continued to the bottom
of the dress.

To obtain an idea for a design seems dif-
ficult for the beginner. The simplest way
for the student to start, is to cut out of
the fashion papers parts of different dresses
that will accord, and that will make a good
whole. Take one waist, another skirt,
another sleeve, another collar, etc., all
of which place on a nicely drawn figure.
All parts of the costume must look as if
they were meant to go together. This
is good practice; but designs made this
way are not original enough to be sold.

The next step in dress designing is to
create a modern dress from a modern
dress, using the main lines as a foundation.
Fig. 1 is taken from Fig. A. See how lines
1, 2, 3 and 4 are preserved, while the design
is entirely different. The belt in Fig. A
suggests the piece over the shoulder in
Fig. 1.

The idea for Fig. 2 was taken from a
bird, a bobolink. The designs and colors
of the plumage of the bird are carried out

101

102

'•''STUDENT'S MANUAL OF FASHION DRAWING LESSON XXIX

on the dress. The bird has a white (W)
back with mottled (M) feathers near the
head, which come next to the yellow
(Y) on the head. The breast and wings
are a greyish black (B) as also is the tail.
The part where the mottled feathers are
may be embroidered in many colors on
the dress. Follow the shape used for the
wings and the shape of the white back,
which extends past the wing line.

Fig 3 is taken from a rug design. See
how the shape of the figure repeated so
often on the rug is used for the front of
the waist and for the collar. The trim-
ming is embroidered with the design taken
from the outside edge of the rug. Color
schemes may also be carried out. \

Be particular about making the back of a
dress correspond with the front.

If you can create a design from a modern
dress, you will be able (if you keep in mind
the present style) to create a design from
an ancient dress. Obtain books from the
library on ancient costumes.

Designers use costumes from all periods
in history for their work. They take their
ideas from both court and peasant life.
Study the costumes worn by ancients in
all countries. The museums are excellent
places for inspirations.

Designers pay much attention to the
general outline of the whole figure (when
dressed), expressed most clearly by the
silhouette. Study the silhouette as it
appears in different centuries.

Things around you, such as flowers,
vases, etc., all may suggest designs and
color schemes. Manufacturers of costume

materials like nicely drawn fashion figures
dressed in their materials to advertise their
goods. Select a sample of goods and design
a suitable costume for that goods, render-
ing it in color.

Designs may be submitted in pencil
only, on the lay figure, or they may be
placed on the human figure. These are
more pleasing, especially when they are
colored. These should be rendered on
water-color paper. They may be outlined
in pencil, ink, or a different color from the
gowns themselves. When placing flat
washes of color over given surfaces, use
the directions for French wash but use
color instead of lamp black. Try all color
schemes on separate paper.

Tempera colors are often used. These
come in tubes and are applied thick like
oil paints. The student may mix white
paint with ordinary colors to obtain this
effecf, or he can use show-card colors.
There are many good books on color;
study them carefully.

The student may best decide which
branch of " Fashion Drawing " he wishes
to pursue. If it is " Costume Design,"
he should use every effort to perfect him-
self in that direction. If it is " Costume
Illustration," study every detail that
applies to this line. He must study the
work of successful artists in both branches
and try for stylg. There are many ways
of illustrating costumes, try for something
clever, as it is the clever thing that counts.
Lesson XXX suggests other ways to put
in practice what has been learned from
this book.

LESSON XXIX

,103

HOW TO OBTAIN IDEAS FOR ORIGINAL DRESS DESIGNS

LESSON XXX
DECORATIVE WORK

The student is now in a position not
only to draw for fashion papers, but to
use his knowledge in designing box covers,
book covers, cards, etc., and to draw
catchy pictures which may be used for
advertising purposes and which will be
salable. Publishers will order pictures
from sketches submitted in rough form,
but the artist's finished work must first be
approved.

Sketches are made with a few pencil
strokes giving the publisher the ideas.
They may be very rough but must have
snap and the lines must be drawn as if
one knew how. The more sketches one
creates of this class the more ideas will
come to him.

A composition is good when the main
point in the picture is most apparent, all
other things being subordinate to it. The
given space must be filled in nicely, but
not crowded. Keep your point of inter-
est near the center and have the back
ground spaces interesting. This may be
accomplished by making a variety of shapes
and sizes, without having them too differ-
ent. All parts must pull together for one
purpose. Study books on composition.
These treat on balance, harmony and tone
values.

It is well first to sketch in your ideas
very roughly with pencil and practice paper.
Take your ideas from decorative pictures,
changing the figures and the backgrounds.
Start with some selected idea and place
lines around it that will fill in the given
space; these lines will suggest shapes of
objects which may be used for the main
idea or for the background.

It is well to draw the figures and the

background before placing the frame line
around them. To ascertain just where to
place this frame line, make a small hole
in a piece of paper, cut the hole round or
square and view the picture through it,
shifting the opening in different positions.
This is called a " finder," and by this
method you can find the best place to
draw the frame around the picture.

These sketches, when worked out, may
be rendered on pencil paper with pencil
only, or they may have flat washes of
color placed on the parts to be colored.

A finished pen-and-ink drawing should
be drawn on bristol board. If the colors
are to be given, place them on transparent
paper which is laid over the picture,
being pasted on the wrong side of the top
edge of the bristol board. This will suggest
to the publisher the color scheme, although
he may change it when reproducing the
drawing. Many drawings are sold this
way; they are line drawings. Others are
sold with the colors carefully worked out
on the pictures themselves. These should
be rendered on illustration board with wash
or tempera colors. They require a dif-
ferent process for reproduction than that
used for line drawings. Consult previous
instructions for the use of water-color
paints, Lesson XIX and XXIX.

Try for good color schemes. Use com-
binations of colors you have seen, also
try new combinations. Try out all schemes
on other paper before attempting to color
your drawings.

The sketch shown in Fig. 1 was taken
from seven different pictures, the figure
itself being drawn first (the figure was in
underclothes, the right-hand held flowers,

105

106

STUDENT'S MANUAL OF FASHION DRAWING LESSON XXX

while the left one was resting on a table).
There is nothing in this sketch to suggest
any of this detail except the position.
Now let us dress the figure in a summer
dress with a hat suitable for the occasion.
A parasol will go nicely in the right hand
and fill in the space at the right. There
is still more space to fill at the right;
a rose bush will go well with the idea of a
hot, summer day. The composition needs
a lawn for the standing figure and this is
taken from still another picture. Let us
place a few more roses on the left at the
bottom, and a few clouds at the top which
help the summer day. Thus we have parts
of seven pictures; the lady, the dress, the
hat, the parasol, the bushes, the lawn and
the clouds.

Study Fig. 2. This little girl was seated
in a daisy field with hills in the back-
ground. Her hair had a Dutch cut.
She was picking a daisy. Suppose we
draw her as she sits, give her long hair
and another dress and have her fixing a
pot of flowers in the house. The window
suggests the house part; so we have the
child, the hair, the dress, the plant and
the window taken from five different pic-
tures.

When submitting sketches, ovals and
circles need not be perfect, but when
making finished drawings be very accurate.
Use a compass for circles and a ruler for
squares and oblongs.

Construct an oval within an oblong.
A good way to make a perfect oval is to
draw diagonal lines from corner to corner
and a vertical line and a horizontal line
through the middle. Draw one-quarter
of the oval in the left-hand top corner.
Trace off this quarter of the whole drawing
and turn the tracing over, placing it in
the right-hand corner, having all lines fit.
Trace off, then turn the tracing over and
place it in the right-hand lower corner;

trace to the left lower corner similarly
and then redraw carefully.

Fig. 3 was designed in the same way.
The little colonial lady had one hand
resting on a piano and the other one
extended. Why not place her dress in her
hands and help the old-fashioned effect
by the diamond window in the back-
ground?

In Fig. 4 the winter girl is very much
blown by the wind. Everything is driven
in the same direction, even the snow. A
small portion of a figure may extend past
the circle, but do not extend it too far.
Do not touch the feather with the circle
or the figure with the distant hills. If
the figure were leaning against an object,
she would touch the object. In case of
distance the space between lends atmos-
phere.

The student must not only strive to draw
well, but he must strive to sell his work.
Remember publishers will not go to you
until you have shown yourself worth
looking up. Go to them with samples
of your work, always taking your best
drawings, and taking to each house the
class of work that that house uses.

Letters of introduction are excellent
things to have, and they might get one a
position. But good work is required to
keep a position, as it is the work that really
counts. Show what you can do and do
not get discouraged if you do not make a
sale at once. Most houses are courteous
and are willing to offer suggestions.

"Free Lancing" is when an artist
has his own studio and sells his work
to different business houses.

Take your knocks as so much medicine
and keep on learning and pushing to the
front. There are many positions open
for artists and even a subordinate posi-
tion is a wonderful thing, for it will give
experience and may lead to opportunity.

LESSON XXX

107

DECORATIVE PICTURES FOR CARDS AND ADVERTISEMENTS

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Complete in paper cover.

NATINO CURRENT. By
Electrical Engineering, !
Industrial Electricity, Fr

Electrical Measurements t

cover. Removable Leav

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Leaves. 85 cents net.

Electrical Measurements, i
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